I neither up- nor downvoted this—I found it interesting, but not very enlightening or actionable. Mostly, I think physical fighting is a very limited domain of bullshit to test, and while some lessons translate into other domains, that requires a lot of introspection and care that could (for many) be learned without the actual fighting.
I do support the recommendation that most people spend some energy on becoming good at at something competitive, but many things can provide the same benefits, including sports and performance arts. The feedback loops from competition and adversarial planning are important, the specific element of combat less so.
How may they be learned without the actual fighting? What’s the relative speed of the loops and clarity in sports and performance arts? For example, how is a musical performance judged? Is it more or less clear than a fight?
Competition is an important and hard-to-obfuscate part of the feedback—musical performances are judged by what position in the orchestra or what level of venue you’re drawing. But also, like fights, there’s a lot of real feedback in the self-, peer-, and coach-evaluations of practices and exercises.
I neither up- nor downvoted this—I found it interesting, but not very enlightening or actionable. Mostly, I think physical fighting is a very limited domain of bullshit to test, and while some lessons translate into other domains, that requires a lot of introspection and care that could (for many) be learned without the actual fighting.
I do support the recommendation that most people spend some energy on becoming good at at something competitive, but many things can provide the same benefits, including sports and performance arts. The feedback loops from competition and adversarial planning are important, the specific element of combat less so.
How may they be learned without the actual fighting? What’s the relative speed of the loops and clarity in sports and performance arts? For example, how is a musical performance judged? Is it more or less clear than a fight?
Competition is an important and hard-to-obfuscate part of the feedback—musical performances are judged by what position in the orchestra or what level of venue you’re drawing. But also, like fights, there’s a lot of real feedback in the self-, peer-, and coach-evaluations of practices and exercises.
Fights provide more salient feedback (in the form of the threat of bodily pain and injury) than artistic or sports performance.