Hey Shyong Fu – Quantum Fá Martial Arts


(expanded from a message on 24 Sep 2013 @ 01:00, by Max Sandor)

Recent inquiries lead me to clarify a few things, names and such:

Quan Fa, also known as Chuan Fa or Kenpo, means literally the Law of the Fist In Quantum Fá we’re looking for the Law of the Minimum , also known as thequantum . In other words, Quan Fa/Kenpo is not the official Martial Arts of Quantum Fá.

But, Quantum Fá, like any good philosophy, sect or cult in the world, needed to have its own Martial Arts. Traditional Ifá did have its own Martial Arts, Aki, which has been outlawed a few centuries ago. In any case, and of course, like any good tradition, Quantum Fá’s Martial Arts is top-secret and only handed over personally to the very best of the best. However, some time ago its once secret name was spilled by some whistleblower(s). No need to hide it any more.

So, here it is: it’s called Hey Shyong Fú, literally the ‘Black Bear Method’. Its roots are said to be from the precursor of today’s Tai Chi and Kung Fú, created about 70,000 years ago.

The name came from the Himalayan Bear, Ursus Thibetanus, similar but not identical to the American Grizzly and the Bipolar Bear, for example. In short, a name as subtle as its secret handsign, the right index finger pointing, slightly obscenely, to the adept’s head brain (see attached official poster).

Its battle cry is composed of 3 (three!) most powerful switchwords: ‘Hey Fá Fú’ that, as can be expected, have a very secret meaning (a special note here for Americans: Fú is pronounced ‘foo’, like in ‘Foo Fighters’).

It is based on the ‘Minimum Technique’ for polar inversion, which, like the rest, is only passed on from a master to a few select.  Currently, there is no living master around that I would be aware of. Personally, I don’t consider myself a master of Hey Shyong Fu and don’t claim to teach it to others. But the basics that I know of can be applied by themselves and yield surprising results and I share those basics with everyone who is serious about learning this approach.

In the following a

glossary of the concepts
of hey shyong fú

Quantum 量子 liàngzǐ  – the smallest amount thinkable; 

 法律   Fǎlü  –  law (in general)

Quantum Fá     liàng Fǎ  – the principle  of the ‘minimum’ as applied to the laws of the Universe results in the idea of the ‘axiomatic system’ in logics as a branch of mathematics  and in philosophy. In Ifá there are sixteen such principles from which a matrix of 256 polarities are being formed which are thought to represent the ‘world as such’ as a model. Hey Shyong Fú implements the idea of the ‘minimum’ in striving for a minimal effort, time, multiplicity and multitude of cause to yield a maximal effort.

Black Bear 黑熊 Hēixióng –  Hey Shyong – the Himalayan Bear, Ursus Thibetanus

Fú  夫  fu – method, skill

Hey Shyong Fú  黑熊夫 Hēixióngfu –  The Way of the Black Bear, The Grizzly Path

chi gung  气功 or 氣功  qìgōng – “Life Energy Cultivation”, holistic system of coordinated body posture and movement, breathing, and meditation, incorporating many of the exercises of Hey Shyong Fú.

kung fu tea ceremony 工夫茶  kung fu cha – when warriors drink tea, they make it a special occasion

  無 or 无 – (not to be confused with japanese ‘mu’!) – ‘without’, ironically a concept with too many interpretations. 

  mŭ – mother , with the probably deepest meaning of all of the Chinese concepts mentioned here. This topic is not being discussed in public by Hey Shyong Fú warriors (but see note to the next entry!)

Oya 親 oya – parent (esp. mother or father).  Note, the Oyamú 親母  are called the ‘Iyami’ in Ifá.

mi  迷 – mí – to be confused, puzzled. (cp.  superstition 迷信  míxìn). Note: it is essential to know the correct pronounciation in mantras using this word (as a switchword for ‘wonder’). If not you might get rice  mi – 米 – mĭ instead.

tai  太 – tài – too, calm, deep

la  啦 la – makes a statement an imperative when used at the end of a phrase, a spoken exclamation point, such as in the mantra containing “Wu Tai Fu La…” Cp., in Ifá,  “Gun Ta Fa Mi La! Mu.” where Kung instead of Wu is asked directly from Mu. See  also Tiāndì Fú below

Heaven 天堂  Tiāntáng – this concept can’t miss, neither spiritually nor in the physical realm, where it equates, for example, to ‘above’ or to the ‘gaseous’ state of matter.

Earth       土    Tǔ – likewise, everything pertaining to Earth AND below

heaven and earth method  天地夫 Tiāndì fú – the principal and ever-present method of connecting Heaven and Earth as a polarity

polarity  极性 Jí xìng

dynamics 动力 dòng lì

Polar Dynamics 极动力 jí dòng lì  – title of a book by Max Sandor and Ed Dawson
Kung Fu   功夫 Gōngfū


Hug 拥抱 Yǒngbào – the threefold connection to ANYTHING, via the trefoil knot Sān yè Jié.

knot 结 Jié

Trefoil 三叶 Sān yè – meaning in three branches or pathways which express the relationships within triangles of qualities of powers

triangle 三角形 Sānjiǎoxíng

For example, Science 学 xué, Art 艺术 Yìshù, technology 技术Jìshù form such a basic triangle. More general, we talk a lot about triads 黑社会 Hēishèhuì -they are integral parts of Hey Shyong Fú to overcome the polar structure of the Universe, for example the duality of soul and spirit

Soul (as a morphogenetic life unit)  hún

Spirit 魄 pò 

In Hey Shyong Fú, the physical body is shaped following energy bodies around them

energy body 能量体 Néngliàng tǐ

physical body  身体 Shēn tǐ

What some people call the emotional body is likewise the result of flows within energy bodies, but not their cause

emotional body  情绪体 Qíngxù tǐ

The notion of the shadow body is different from what most would expect from the name itself

shadow body 阴影体 Yīnyǐng tǐ

There is no bookShū in Hey Shyong Fú.

It has all elements like head 头 Tóu, arm 臂 Bì, leg 腿 Tu, torso 躯干 Qūgàn, hand 手 Shǒu; foot 脚丫子 Jiǎoyāzi. shoulder 肩 Jiān and so forth.

Erhu  二胡 èrhú – two-string violin 小提琴 xiǎo tí qín , a musical instrument 乐器 yuè qì with resonance box made from the skin of a python 蟒 mǎng. For a Hey Shyong Fú warrior an opportunity to practice of purity (of sound), adjustment (fine tuning), and resonance gǎnyìng 感应. Mostly improvisations as meditations, often using dual tones with Double Stops 雙音 Shuang Yin and similar techniques to represent polarities other than those of outer and inner strings. About playing and composing for the 二胡 èrhú  see here.

A didgeridoo 蒂傑利多 is another ‘frequent instrument’ found in Hey Shyong Fú.


Corso per Mentori di Girapoli – il mistero della polarità

Dentro i confini del mistero della polarità, troviamo alcuni dei segreti più antichi della cultura umana. Ogni volta che questi misteri venivano scoperti, ecco che il velo di silenzio e oscurità, molto velocemente, li nascose di nuovo. anche quando venivano francamente svelati, il loro senso più profondo non fu mai riconosciuto dai non-iniziati.

Dato che la conoscenza della polarità è una cura, la sua applicazione è anche un’arma; e dato che serve per svegliarsi e liberarsi, potrebbe anche servire per confondere un essere ingenuo – asservendolo facilmente. Siccome non esiste una difesa da una minaccia sconosciuta, la vittima non riesce nemmeno a consapevolizzare di essere prigioniera in una gabbia invisibile e invincibile.

A ciò deve aggiungersi che a nche se un essere prendesse coscienza dei muri della propria prigione perenne, non saprebbe comunque come abbaterli. Un famoso guru un tempo scrisse lista di venti (20!) metodi per disfare una polarità; metodi questi, però, che finiscono per rafforzare i muri, e l’unico metodo che funziona per abbatterli il ‘guru’ NON lo menzionò neanche.

Tu sei pronto per scoprire questo unico metodo conosciuto per salvarsi dagli artigli della bestia più crudele dell’Universo. Salvarsi dalla causa della tragedia umana, sia a livello individuale, sia a livello di gruppi di esseri umani.

Questo metodo è così semplice, che è facile ignorarne l’importanza. Siccome pochi esseri sono capaci di farlo funzionare al primo tentativo, da soli, senza aiuto, quasi tutti finiscono per dire: “non è niente di particolare”.

Questo fu il destino dell’insegnamento di Gotamo Siddharto, il ‘Buddha’, così seguì anche la storia della teoria della dialettica di Hegel. Il Buddha diceva che questo magnifico segreto è talmente sottile che solo pochi possono vederlo, e che la sua verità si sarebbe socuramente persa in meno di 500 anni. Hegel, in punto di morte, dichiarò che nessuno del suo tempo capì la verità della dialettica, a eccezione di una persona; e questa persona la invertì.

Non ripetere l’errore del passato, non lasciare passare l’opportunità di scoprire il segreto più visibile ma anche più difficile, il più ovvio ma anche meno risolvibile in tutto l’Universo.

Benvenuto al ‘Corso per Mentori di Girapoli –
il mistero della polarità’!

Planets on a string

This world model combines several seemingly contradicting properties of our world without adding any new ones. It also bridges to the view of the Universe as a system of resonances of vibrations (e.g. the ancient Spandacarica , see also the modern description of Daniel Odier ‘La Voie’) and especially the modern notion of ‘chakras’. In short, it is postulated that the physical reality is structural congruent with the energetic reality (chakra system and energy bodies in general), and with its mathematical abstraction as vibrational system in general (via the Helmholtz Equations).

The German physicist Hermann von Helmholtz (1821- 1894) explored the the interfaces between physics, physiology, and psychology. His book “On the sensations of Tone” (1862) provided a generic model of a universal resonator (see image above).

The model proposed favors the premises and conclusions of the theory of Shape Dynamics.and its restriction to “objective observables,” in respects to the phenomenon of time while maintaining the framework of Einstein’s theory of General Relativity.


In the heart of the ‘Planets on a string’ model we find the concept of a concave Earth, an unproven but not (yet) falsified theory of the model of our world. (For a comparison between models of Earth, see Concave Earth Theory).

The problems of pole anomalies find surprising answers when we replace a closed sphere with open-ended sphere, an object proposed by Helmholtz in 1892. We can now combine more than one Earth to a  string of Earth implementations which are connected via its pole openings.

Such a structure is strikingly similar to the human ‘chakra system‘ and we can posit this to be based on a general structural conformity. If so, such structures follow the proportions according to the Fibonacci series which can be called a general growth function. In other words, we can see the physical world manifestation based on ‘natural’ growth and integrate ‘time’ as a geometric vector according to Shape Dynamics.

The ‘Planets-on-string’ Model provides us with a direct link to the basic equations of the Universe, known as the Maxwell’s Equations and their relation to the Helmholtz Wave Equation. A concise yet simple demonstration of how this works has been written up by Benjamin Klein here.

Many of the properties of these models can be observed (and used!) directly during awareness-based clearing, notably the ‘right-angle’ method and the resonance method in Epigenetic Tuning & Reprogramming, hinting further to the universal applicability of this model.



A busca do Ser por meio da integração da ciência, tecnologia e arte

para receber informações sobre palestras de Max Sandor, contate  agoravai@power-relations.com

Lição de casa: O desafio Heinlein (Heinlein Challenge)

  • escolhe uma tarefa da lista do Heinlein  OU invente uma nova tarefa deste tipo!
  • Identifique as partes da ciência, tecnologie e arte nesta tarefa!
  • Faça a tarefe por si mesmo!
  • Documente as suas contemplações e o ato com palavras e com video ou foto(s)!
  • Mande o seu documentãrio para:   agoravai@power-relations.com

Sinopse da palestra


– o que “buscamos” ?

– porque “por meio da integração da ciência, tecnologia e arte”?

– o que nos não contemplamos nesta palestra

(intermezzo: “A navalha de Occam”)

O que temos

-definições – integração, ciência, tecnologia e arte, singularidade, delimitações, extensões, AI, polímata

-a configuração mínima do homem

-a configuração máxima do homem

A aplicação 

´- o potencial de uma singularidade Non-AI:

(intermezzo: “A singularidade AI”)

– Carl Sagan “Toda criança é um cientista nato”

– Robert Heinlein “O homem competente”

– Joseph Beuys “Todo homem é artista”

–  O dilema  do diletantismo segundo Goethe (1799) e hoje (2017)

– a integração na educação

O resultado

– “a escultura social” (Beuys)

–   O “Homo Optimus”

–  A humanidade  5.0

– As questões perenes na busca do Ser

– e você?

Lição de casa

Palestra 24.11.2017 SESC Piracicaba

fotos: Mariana Damásio


SESC Piracicaba

Joca Adamoli

A navalha de Occam

Reductionismo budhista (ingl.) Georg Grimm

Toys (1992)

Krishnamurti Foundation, Ojai, CA

Jean Paul Sartre à la Sorbonne

documenta III   /  documenta IV

Joseph Beuys

Todo Homem é um artista / Escultura social
(Fórum Permanente)

Robert A. Heinlein “Competent man” (ingl.)

Fritjof Capra “A ciència de Leonardo da Vinci” (na Revista Livraria Cultura com comentarios de Max Sandor)

Carl Sagan – 12 pensamentos

O Polímata (Renaissance Man)

Melodyne – intro e curso de afinação automática 

Robert A. Heinlein, Time Enough for Love

Um ser humano deveria ser capaz de mudar uma fralda, planejar uma invasão, matar um porco, guiar um navio, projetar uma construção, escrever um soneto, fazer balanço de caixa, construir uma parede, colocar um osso no lugar, dar conforto a quem está morrendo, receber ordens, dar ordens, cooperar, agir sozinho, resolver equações, analisar um novo problema, adubar o solo, programar um computador, cozinhar algo gostoso, lutar eficientemente, morrer galantemente. Especialação é para insetos .”

VORTEX Breath: Exhale Vs Exhaust

Exhaling is imbuing something in the Universe with your force, exhausting is drawing your power from you as it were waste.

The difference is that of ‘giving’ and ‘losing’ and is initially difficult to perceive as it is subtle, non-physical flow of energy.

Its importance and potential cannot be overemphasized.

It can be unfolded without internal conflicts only after initiating and maintaining

    circular breathing:

Only if one inhales and exhales in a strictly uninterrupted circular way does it become possible to positively control the balance of internal and external forces.

The actual flow of air becomes practically of secondary importance. After a while the body will adapt to this way of breathing and will not need any intention. Acceleration of the breathing rate is done by intention to accelerate the circular speed and not the rate itself. This is an important difference because during ‘normal’ voluntary control a conflict between voluntary and involuntary muscle actions arise and out of that a host of problems come about.

We can glimpse a hint of the power of exhaling versus exhausting when we look at the psychological and physiological  effects enforced circular breathing in Leonard Orr’s Rebirthing, Stanislav Groff’s Holotropic Breathing and the Wim Hof Method. These approaches lead to extraordinary experiences and ‘super-human’ abilities far beyond the reach of common imagination.

The principal reason of why these approaches produce their amazing results is that during circular breathing a part of the person’s pattern already goes into an exhaling mode (instead of exhausting)

  if the outflow of air is being physically resisted:

typically, the person is invited to think of ‘filling an air balloon’ in order to communicate this all-important detail.

For installing the


all we have to add the imagination of an energy sphere following an oval (egg-shaped) pattern that after leaving the mouth travels down the chest and into the solar plexus. There, exhalation turns into  inhalation without a reversal point like during a ‘normal’ breathing cycle. The imagined sphere then travels outside and up the spine and enters the mouth cavity from the back, through the neck and forward out the mouth.

Now the internal and external forces will start naturally and unimpeded to balance themselves out and potentiate the human being as a whole. This we call VORTEX Breathing.





Workshop Series: Get the Power of Systemic Thinking!

For a more academic setting, Max created a 16-part workshop series.

To learn more about it, see the complete slide package here: PowerPoint Presentatioon of the Workshop Series 2007/2017

A Look at the cover page and the summary page:

The “Get the Power of Systemic Thinking!” is a Workshop Series consisting of 16 modules.


Sculpture: Ossayin 21st Century (Sandor, 2007)


Sculpture: Ossayin 21st Century (Sandor, 2007)

Dimensions: 120 x 110 x 60 cm
Material: Inox and scrap metals

An homage to the Orisha of plants, Ossayin.

Hiding out in the woods, even more so than his brother Oxossi, it is the most feared of all Orisha. Today’s Pharmaceutical Industry is his living testimony.

In the Sandorian Grove, we can find him at the side of bow and arrow of Oxossi.

Sculpture: Medusa (Sandor, 2008)


Sculpture: Medusa (Sandor, 2008)

Height: 260 cm, width of top part: 120 cm
Weight: approx. 20kg
Material: Scrap metal, metal post
Installation: metal base. cemented into ground, post with 20 degrees inclination, secured with 2 steel wires

History and Purpose

Dedicated to the Greek Gorgon called Medusa, a female archetype about which a multitude of contradictionary and confusing articles have been written.

Originally a legend from the time of the rule matriarchs, it was said that no man could look at her without turning into stone.

In Wikipedia, the limitation to ‘gazing males’ has been dropped, as well as the information that the Perseus legend was added after the introduction of patriarchism.

The archetypal scriptlet of ‘turning into stone upon looking’ can be found in various different places of human cultures. In the Bible, Lot’s wife turned into a pillar of salt after looking over her shoulder at the Sodom and Gomorrah. In many cultures, looking over one’s shoulder is considered bringing bad luck.

In Ifá tradition, these scriptlets are part of Odù Ifá Odi-Osa and the name Me-du-sa reflects this concept in its ‘energetic semantics’.

This sculpture, in its current location in the Sandorian Grove, has been located in front of Sandor’s mosaic representation of the maze from the myth of the Minotaur on the island Crete.