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Making this assumption may seem rather bold. If it is true, two things happen:
  • Understanding that instruction arouses the observer immediately compels us to destroy the notion that we must seek some authority figure to set us aright.

If the student gains what he believes to be a true understanding, it is almost always from the subconscious imitation of the pure motion of the professional. When he leaves the presence of his teacher he only reassembles the fragments of his observations about the parts affected by the motion. "Okay, he moved his right arm this way, kicked his left knee that way". . . and so on. Even though the seeker may duplicate the form, he cannot replicate the comfort in the freedom from question that permeated him in the presence of his teacher’s authority. Soon the seeker returns to his teacher, frustrated, artless and searching for answers.

  • The problem of conveying and absorbing the knowledge of swing is magnified.

There is one thing the golf seeker must keep in mind about the professional golfer. The professional must always answer on the basis of the transparent art within him. The more innately balanced he is, the less sensational his perception. The professional is in a unique but perhaps frustrating position.Upon assuming a compostured position, he sees the ball "pristinely" and moves . . . that is all. To he or she art is the only authority. To we, the seekers, it is often ego. Many professionals fear to tread in this area of golf.  For the professional to question the seeker's ego, he must also question his own necessity. Though the professional may be skillful, his art is a boundary, a perilous chasm, too wide and too deep to build a permanent bridge for the transportation of that art.

Don't get me wrong. The professional is very useful and can provide many tools. But bringing out the artist is up to each individual. This is done in real time, not in the parasitic mode of idealism.

Let me explain what I mean. If you want to paint oil paintings, would you rather learn how to mix colors from Van Gogh or from me?

To see examples of how not to mix colors, visit the Gallery ;~]

The reader may logically follow that up with "If I want to learn golf or improve my game would I rather learn from Arnold Palmer or from someone with no proof?" Ah.........

That's a very good question, except for that this site is not about the techniques of "mixing colors;" it is not about the regiments of preparing for art. This has all been covered, ad infinitum, by other authors.

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