Over Powering and Over Rotating

After coming back from Tassie late last year I started a thread on the Fly Casting Lab facebook page. I am re-posting here for those who don’t do facebook and because I think it’s worth thinking about in your own casting and certainly as a casting teacher. Yes, I know, I’ve probably gone on about this enough already but still……

“I’m recently returned from a 6 week trip to Tasmania. Watching fly fishers cast I was again struck by the two very common and related problems of over rotation and over powering. In fact I’d say that a clear majority of anglers had these problems. Raises a couple of issues to put out for discussion.

  1. Why is this so common?
  2. What are most effective teaching interventions?

I’ve thought a lot about this and keep coming back to several things which apparently are not widely understood in casting circles – by students or teachers for that matter. FWIW here is my take.

Over powering is another way of saying “excess effort”. Put succinctly, humans are naturally inclined to use more effort to try to compensate for Inefficient movement. In this there is a gender bias towards males who have “learned” to hit/kick/throw harder to go make things go further and faster. As we know in fly casting this creates a vicious circle. That is the caveman’s lot.

What we don’t often sufficiently appreciate is the effect of vastly increasing the length of our arms by using a long (third class) lever. I once roughly measured the comparative movement of my rod hand with my rod tip.  Rod tip distance moved was about 7 times my hand movement. This amplification means my margin for rod hand error is extremely small. The faster I move (more effort expended) the more I compromise accurate control of my rod hand movement. 

Fly casting then is technically a throwing movement but thinking about it like that, implicitly or explicitly, creates grave and even extreme risk of poor control because it is actually very different from throwing other things like stones or balls in cricket or baseball. Fly casting is an “unnatural” throwing movement due to the amplification factor.

Over rotation, the windscreen wiper effect, is similarly a result of being in too much of a hurry to get past translation and into rotation which we instinctively understand to be where the real action of propulsion goes down. Hence the relationship with over powering – too much haste means too much effort and thus increased exposure to the risk of inefficiency.

Teaching interventions. As others have already said it helps to demonstrate how little effort is actually required to turnover a fly line. I would add that it helps even more to enable the caster to watch what they doing as they do it and for this Lee Cummins triangle method is pretty hard to beat. I don’t teach often but I am resolved to buy a ball launcher when I get another student to teach in person. People use ball launchers to increase the distance they can throw balls for dogs to chase and quite soon they realise that it is different from a normal throwing action. They have to slow down to take advantage of the launcher.

The only way I can think of to reduce the negative impacts of instinctive (natural) movement is to practice relentlessly and mindfully until the unnatural, vastly amplified, movement of the rod tip becomes more normal. Two big hurdles there for the average caster, getting lessons and doing a lot of practice. Neither of these are common. The third large impediment to improvement is the extent of misinformation about fly casting, not least the bunkum and about rod loading. Idealising the casting of heroic distances doesn’t help much either. Further means harder right? :^)”

Curious Fly Caster PDFs for download: Fly Casting as Movement

This is to let you know that my section on Fly Casting as Movement is now available for download.  As before the PDF is covered by a Creative Commons Licence and you should check the rules before downloading if in any doubt. Like the others which preceded it, the downloadable file can be found at the very end of the section. Cursoring over the file should give you a download arrow to click on.

As I explained on the Welcome Page of this site, Mechanics and Movement are the bookends of my learning journey. The journey continues but it is now driven by purpose and practice. If some new area of research bobs up I will, of course, take it on but for now and the foreseeable future I have all I need.  At some stage I might assemble a “best of the blog” PDF but absent that, this will be my last major offering. 

Very best wishes to all my fellow pilgrims. May your journey be as rewarding as mine.

Curious Fly Caster PDFs for Download: Teaching Fly Casting.

This is to let you know that my two sections on teaching, The Interim Research Report and The Progress Report are now available for download.

As before the PDFs are covered by a Creative Commons Licence and you should check the rules before downloading if in any doubt. Like the others which preceded it, the downloadable files can be found at the very end of the section. Cursoring over the file should give you a download arrow to click on.

Curious Fly Caster PDFs for Download: Practice

This is the latest section to be made available for download and one of the most important.

As before the PDFs are covered by a Creative Commons Licence and you should check the rules before downloading if in any doubt. Like the others which preceded it, the downloadable file can be found at the very end of the section. Cursoring over the file should give you a download arrow to click on.

Curious Fly Caster PDFs for Download: Sensory Motor Learning

This is the latest section to be made available for download.

As before the PDFs are covered by a Creative Commons Licence and you should check the rules before downloading if in any doubt. Like the others which preceded it, the downloadable file can be found at the very end of the section. Cursoring over the file should give you a download arrow to click on.

Curious Fly Caster PDFs for Download: Biomechanics

In my last post I announced that major sections of this site would be made available for downloading as PDFs. The Physics FOR Fly Casting series was the first PDF to be made available and the Biomechanics FOR Fly Casting series is now the second.

As before the PDFs are covered by a Creative Commons Licence and you should check the rules before downloading if in any doubt. The downloadable file can be found at the very end of the series (part 4). Cursoring over the file should give you a download arrow to click on.

Curious Fly Caster PDFs for Download

I have decided to make the major parts of this site available as downloadable PDFs. Credit where it is due. One of my Canadian readers, Claude J. Lemelin, suggested this idea and graciously offered to convert the files. Merci beaucoup Claude. I hope our efforts are rewarded.

I am doing this to make the content more easily and widely accessible. The files can be shared as readers wish. The only restriction is that the Creative Commons Licence applies to the PDFs as well as to the site content. Please read the licence to see what can and can’t be done with the content.

New content has tapered off because, quite honestly, I don’t expect that my casting journey will encounter any new major areas of interest. I seem to have what I need and will continue to practice and apply what I have learned. The well has not run dry, rather it is full enough (at least for my purposes) and I won’t get sucked into producing inauthentic posts or pages just for the clicks.

First off the rank is Physics FOR Fly Casting – The Einstein Series and the rest will follow as they become available. You will find the PDF of the whole series at the end of the series, appropriately enough, the Endnote which you can find in the side panel index. PDFs for the rest of the parts will follow and I will announce each new one as it becomes available.

I have battled with the now aged WordPress theme for the site to create the downloadable files and the result is pretty clunky but it works. If you cursor over the downloadable file a little box should appear with a down arrow. Click on this and the file should download.

I would appreciate any suggestions for improvement from readers whose tech savvy exceeds mine which probably means a lot of you!

Fly Casting, Waves and Control of Line Tension

Back in 2020 I created a page about Making Waves and Graeme Hird’s work on line control post loop formation. I have just edited the page to include reference to a new video by Graeme in which he further demonstrates the benefits of controlling and varying line tension after loop formation. He has reminded me to experiment more with this. Thanks Graeme and again, well done mate.

Back then I was agnostic about whether loops are actually waves. Having watched the video I can say that I have moved towards being a believer. To be clear I don’t think it really matters a rodent’s rear end whether fly casts exactly match the technical definition of wave production. The question is whether treating the line as a wave medium produces benefits for casting control and efficiency. There was and is no doubt in my mind that the conceptual and practical embrace of that idea is very useful.

Equally, I remain convinced that what we do before loop formation is of primary importance. In a relative universe of mind and movement, manipulation of line tension post loop formation might be of secondary importance but we should, nevertheless, pay close attention to it.

Fly Casting: Movement and Sensation

Introduction

Some years ago a friend who had played and coached golf at an elite level put me onto the idea of the “feel” of a movement. Intuitively it made sense. I liked it, adopted it and still use it, predominantly as a means of facilitating the removal of all surplus effort. It’s a way of imaging casting movements and effort profiles. Images capture stuff in a subjectively meaningful way that can be evoked and (hopefully) replicated later on.

More recently “feel” bobbed up in a couple of places as the subject of opposing positions. Fly casting has a habit of producing such disagreements. I set out my views which included the explanation of a “feel” as recording, evoking and attempting to reproduce an overall sensory experience of making a cast – particularly a desired one. The range of views I saw expressed, both positive and negative, suggested confusion about what it meant and applied to. In search of clarity I discussed it with my partner who was a professional ballet dancer and then took to the literature.

Among others these are the questions for which I went looking for answers. What is a “feel” – for me and the literature? How can it be used to greatest advantage? Is it only for the more advanced casters?

We choose to categorise our senses and sensations by dividing them. Sight, hearing, touch, smell, taste and, for some, kinesthetic and/or proprioception as our sense of movement. The problem with this kind of division is that it assumes little or no relationship between our senses. Not a good idea. For another example, a great deal of what we “taste” actually comes from what we smell.

The Felt Sense of Movement

What we feel when we move and remember afterwards is analytically quite complicated. Picking over the experimental and analytical detail doesn’t always serve my purpose. What I’m looking for is the value science offers me in improving my movements. It is generally agreed is that our sense of movement comes from a combination of kinesthetic sensation and proprioceptive sensation. Again, the precise definition of these terms doesn’t help me. Some people separate and mix them together in different ways but these senses are together what give me a felt sense of movement, especially when I recall that movement sensation includes effort – how much and when during a (casting) movement.

We send neural signals to make a movement and receive neural signals which inform us about the progress of the movement as a means of controlling that movement. Again there is a whole warren of rabbit holes to go down in exactly how that happens. In my view we clearly do both and do them in a bi-directional flow. Moreover, I don’t need to know more than that I can simultaneously direct and feel (have a sensation of) my movements. It doesn’t particularly matter what labels are devised and applied in analysing sensing, making and controlling movement. My muscle spindles, and other soft tissue bits, receive instructions and send information about how those instructions are being carried out. That’s about all I need to know.

There are other and related sensory inputs when we make a fly cast. These include our senses of sight and touch. The sense of balance is in there as well and the vestibular is sometimes mixed into the proprioceptive sense. The sound, if any, made by the rod and line also give us valuable data. There is, then, an overall combination of sensory data that I/we can attend to, store and attempt to replicate when I/we cast.

So all of that means to me that the “feel” of a movement comes predominantly from the kinesthetic and proprioceptive senses which include effort. For my purposes it also includes the sensation of resistance in towing the line – of being connected with it. Whether that involves touch via my rod hand or is merely part of experiencing weight and force proprioceptively isn’t of much significance to me. Mind you, I doubt my casting would be improved by wearing welding gloves. Over time I have adjusted to wearing sun gloves and made that sensation the norm.

Using and Imaging the Felt Sense

Different strokes for different folks but I am able to focus on the felt sense of casting and have improved my awareness of it. This happily includes my sense of effort and its likeness to my intended profile of effort through the chosen kinematic sequence of making a cast. That awareness can be combined with or isolated from, my visual sense in both the movement performance and outcomes (line behaviour) of my movements. Awareness and focus of attention are brothers in arms – pun intended. Each benefits the other.

It’s my view and experience that kinesthetic/proprioceptive sensation is part of the overall sensory experience, That experience can be imaged and the resulting image can be summoned and used to prime, ease and smooth out my casting stroke. My image of a good cast at longer distances has also been given a subjective and evocative (word) description. I could tell you but it probably won’t mean much. Oh, ok. “After the meal, always leave a tip”. Warned you.

Imaging

I can, pausing while typing these words, call to mind what that phrase refers to and imagine making that movement and getting the “feel”, especially but not exclusively on the forward cast. Out in the field it can be recalled and used variously to prime and to model what I want to do. Would be surprised if dancers and golfers (among others) can’t and don’t do much the same.

Is this being set up in competition with the visual sense, with watching what the line does and responding to this outcome(s) data? No, not at all. Like getting your balance sorted out and playing with different kinematic sequences and effort profiles to see what happens, it’s just more inputs for better neurological and physiological patterns and that is what we all work towards when learning to move.

There’s no drama and kerfuffle about referencing similar movements like “flicking water off the paint brush”. Analogies, similes and metaphors reference and register with existing neural patterns. What I’m on about is more of the same. In a nutshell: analogy, imagination, evocation of movement and sensation, production of movement as imagined, sensory experience of the movement. Repeat.

Odd spot

If you aren’t too sure that imaging affects movement here is a little something to try. Standing or seated and looking straight ahead, imagine turning your head to the right. Don’t do it yet – just imagine doing it. Now imagine turning your head to the right again and then, make that movement. My guess is that like me it seemed to move very smoothly. Next up, imagine turning your head to the right but then instead turn it to the left. I’m guessing that the movement felt stiff, awkward and somewhat restricted. What just happened? If it worked for you as it does for me then we’ve demonstrated that imagination of movement is connected to and affects actual movement. Probably something to do with how the pre-motor cortex works with the motor cortex.

Who is This For?

The short and simple answer is “Anyone who can learn and benefit from it”. If I were teaching a beginner it wouldn’t be habitually centre stage but if my intuition told me to do it I’d bring the subject up and see what happened. I’d make the same cautious trial run with a more advanced caster, especially if their backgrounds were likely to have included body awareness and a felt sense of movement. Some people get it and some people don’t. C’est la vie. It’s their journey towards to making the movements their own which matters – not mine.

Fly Casting: More Than One way

For quite a while, especially since I got into movement and how we learn (and perform) it, there has been something or some things bothering me about the conceptual models and assumptions underlying how we teach and talk about solutions for, people having casting problems. Something is getting in the way of understanding and perhaps reconciling the differences and resolving the arguments between people with basically good intent but fundamentally different perspectives.  Mel Krieger’s typology of poets and engineers puts us in the ball park but doesn’t give us the rules or equipment to play the game.

I have started and stopped several attempts to understand and explain why in fly casting commentary and discourse we have essentially two groups of different ideas about the rules of the game – the game being learning, teaching and discussing our passion. In one version I wanted to use the contrast between thinking and living in a universe that is either relative or absolute. In another I drew on the preferences of the two brain hemispheres and which is dominant and which is subordinate. This affects our default patterns of thinking. Consequently, we are inclined to think and speak about the same things but in quite different ways which to others either make good sense or are NQR.  I’ve kept part of that journey in the mix. Here it is.

Hemispherical Preferences and Patterns of Thought

For those who are interested, an in-depth exploration of hemispherical preferences can be found in Iain McGilchrist’s book The Master and His Emissary, 2009. At extreme risk of oversimplifying both the pathway of analysis and its destinations,  we use the left brain to search for the details and abstract them from the background – from their context.  We use the left brain to deconstruct things in order to understand how each of the resultant parts work. We use our right brain to assemble a bigger picture including what the left brain has observed. We need both sides for the best understanding of parts and wholes. Preferably the right brain is in overall control. Hence the title of McGilchrist’s book.

We share this hemispherical division of the brain with many creatures. For example, if you watch a bird carefully you will see it rotate and tilt its head to one side or the other, including when it is looking at you. One eye is hemispherically wired to examine the detail – to pick out the bug from the background. The other is more orientated to threat identification, for seeing what’s going on in the bigger picture. (The wiring is contralateral – right eye with left brain, left eye with right brain.)

I don’t think it would be unfair to say that people who are left brain dominant are attracted to the detail rather than the picture overall. They also tend to favour an Aristotelian approach that something is either A or not A. I’m not a philosopher or scholar of Aristotle but it’s not hard to see that it tends towards absolutism. To adopt more contemporary terms it is oriented towards binary, “zero sum” thinking. There are plenty of examples out there like the characterisation of taxonomists as either “splitters” or “joiners”.  One lot sees the differences, the other sees the similarities.

Parts, Wholes and Contexts

Notably, a great deal of fly casting discussion and argument is pre-occupied with correct definitions and correct classifications. I’ve been down that road with physics and biomechanics etc but found the journey ultimately unsatisfying because for me detail is only useful if and when it can be reassembled into a larger whole, ie positioned within a bigger picture. For me the larger whole is variable, fluent (and fluid) fly casting movements. There is always a context and both the parts and the whole need to fit into the context and thus be consonant with it. For me it’s not a choice between parts and wholes but of both fitting within a containing context. 

From my perspective the containing context is fly fishing. I know from decades of fishing that any given session is both similar to and different from, others. To meet the challenge of a dynamic environment we need the capacity to adapt our casting, to vary what we do. We need control of our movements. There is saying in music that I’m fond of: “improvisation is the privilege of the master and the bane of the novice.” 

The end game of learning and practice in fly casting is the ability to execute the solution(s) to a given presentation problem.  Both the problems and the solutions vary from the standard overhead cast to creatively improvised casts.  See the shot, take the shot and make the shot. This undoubtedly gets more difficult as the distance of the shot increases.  Beyond a certain point the range of possible solutions begins to narrow ever more sharply.  A shot at maximum distance has very limited scope for improvisation because it requires a far more specialised combination of body bits moving in a favourable kinetic sequence.  Improving our technique might extend the range within which we can vary and improvise solutions.  However, increasing casting distance inevitably narrows the scope for variation which is actually essential to controlled movements. Compare and contrast this with competitive casting for distance or accuracy where we also need control of our movements but within a much more limited range of variation. To my eye these more specialised casting scenarios are somewhat abstracted from the reality of fly fishing. My preference is for technique that is suited to variability, adaptation and thus overall control of movement. 

Teaching

If we turn to the teaching of fly casting we can see a similar division. The traditional approach, of teaching fly casting to people, sets out to instruct them that there is a correct way to cast and any deviation represents a casting fault.  This approach has been passed down through generations of instructors and their students.  There is now emerging a more expansive approach which is aimed at facilitating student learning, at teaching people to fly cast. I don’t want to repeat what I’ve written elsewhere about the pedagogy of teaching people to fly cast but I want to mention Mosston and Ashworth’s Spectrum of teaching styles. It organises teaching styles into two clusters – reproduction (student learns/reproduces what teacher says) and production (student learns/produces with teacher facilitation). Moving from one and closer to the other involves crossing a student discovery threshold, the line between compliance and insight would be my rendering. Rote learning versus self paced learning would be another relevant characterisation. The authors note that no one style fits all student needs. Again, it’s not about binary choices but getting the mix right for particular students and their needs for their learning stage. My preference for teaching is, to the greatest practical extent, guided self discovery. Overall, students learn best by discovery rather replication.

The absolutism of the one size fits all approach to casting “instruction” has a lot to answer for, notwithstanding that at times and with some people doing some things in that way can be helpful. However, if the journey is, as it should be, towards making the movements ours, towards finding what works after trial and error and playful variation then we are bound to leave the narrow, walled lane of strict reproduction sooner rather than later. This is notably true if we want a learning process best adapted to the fishing experience. 

Conclusion

Having wandered far I find myself intrigued to connect dots that at first glance are a long way apart and without any obvious connection. The big picture and the small picture are different but connected neurologically, causatively and consequentially.  We think in patterns to recognise, apply and “create’ patterns. As the Buddha put it, “With our thoughts we create the world.” In the world of fly casting there are people who are convinced that the answers and understanding lie exclusively in the detail. There are also people, like me, who are slightly more interested in the wood than the trees, much less the molecular structure of bark. My point here is that understanding how fly casting works and doesn’t work benefits from both detail and the bigger picture of how we humans learn and perform movement. 

The problem is bringing the two perspectives together. If the right hemisphere is being given a look in then that is not so difficult. If the left hemisphere rules absolutely the bigger picture is either irrelevant or inadequate or both.