Performance and Control Overview

A Framework for Improving Performance

Overview

I present a framework here that should be useful for any number of human activities. My focus is on physical activity, particularly martial arts. However, this is also a general framework that may apply to music and other sporting activities. I have used it to analyze singing

While I haven't examined its applicability to non-physical activities, it may also be relevant in those areas.

The utility of the framework lies in its ability to analyze our performance systematically. It allows us to understand why we experience success or failure to varying degrees. By providing systematic categories for analysis, it helps us evaluate our activities and make corrections to improve future performance.

Notes on Vocal Performance and Control

Control

Assuming the goal of our activities is control, we must consider control of self, control of others, and control of the situation. Control is the ultimate objective.

Performance

We strive for success in achieving control, but our performance can vary. We may experience both success and failure, ranging from complete failure to theoretical perfection. Our success is attributed to the merits of our performance, while failure stems from faults in our performance. Additionally, there are random factors beyond our control.

We can further analyze the faults and merits of our performance. In engineering, a fault tree is used to identify the root cause of failures by tracing faults and their subsequent effects. Similarly, we can develop a tree-based analysis to identify the merits of our performance.

Technique

To achieve control, we rely on technique. Technique represents the "what" aspect of our activities.

Every discipline has its own set of techniques, which can vary greatly in size and complexity. For instance, my system of Eskrima has a large body of techniques, while Western boxing has relatively few. Each martial system has proponents and detractors, each claiming to possess the best techniques. However, every art has techniques that work within their domain, as well as techniques that are bound to fail. Some techniques are more forgiving of mistakes and more fault-tolerant, while others require greater expertise and finesse. Assuming you have a strong foundation in basic techniques and a well-engineered set of methods, correct choreography, you need to consider the form.

Form

Three elements are interrelated in the context of form: form itself, rhythm, and position. Form represents the "how" aspect, rhythm refers to the "when," and position indicates the "where." In addition to these, I consider breathing as a separate aspect alongside form, rhythm, and position, to emphasize its importance.

Conditioning

Conditioning plays a significant role in our activities. It ensures that our bodies can generate power, withstand the stresses and strains of the activity, and move with speed. Each art has its own conditioning methods. Ultimately, high-level performance is challenging to achieve without proper conditioning.

Mind and Body

The mind controlling the body underlies all aspects of our activities. This includes perception, evaluation, decision-making, and motor action. Additionally, various other factors relating to the mind impact our performance. While not an exhaustive list, these factors include our mental state, corresponding physiology, emotions, awareness, relaxation, intent, ability to enter the flow state, and display grace under pressure.

Principles

Principles, heuristics, and rules for action are fundamental to any discipline. Without a broader understanding of the discipline, techniques remain loosely integrated. By incorporating principles, we can abstract and identify generalities, common patterns, and provide guidance on applying techniques effectively.