The Pattern eg The Phobia Cure

1. Create a dissociated representation. Create a dissociated image by imagining yourself sitting in a movie theater. On the screen in this mental theater, put a black-and-white picture of the younger you in the situation just before the traumatic event occurred.

Frecze-frame, as a snap-shot, a scene prior to the movie. Now sit back to watch it, aware that you have taken a spectator's position to that younger you. Notice that you have stepped out of the picture, and have a position from outside. This will change how you feel about it.

As you gain this psychological distance, anchor this dissociative response, delighted that you can feel glad for this ability to step aside even further. Because taking this spectator position to your old memories enables you to begin to learn from them in new and useful ways.

You might notice that your younger self in that memory thought and felt from a less resourceful position than you do now, sitting here and observing that younger you with your adult mind. And this can give you a new and different perspective, can it not? Now.

2. Identify your driving submodalities. As a spectator to your movie, notice your VAK codings and their submodalities (another meta-level state). I'lay around with altering them.

Since you have taken this new position to your younger self, you can now look at the ways you internally represent that memory...and notice the submodalities your brain has used, up to now, to code this memory.

As you begin with the visual system, just notice wrhethcr you have the picture in color or black-and-white? A movie or snapshot? Bright or dim? Close or far? And as you make these distinctions, you can begin to choose which coding would enable you to think comfortably about that memory so that you can stay resourceful and thoughtful in a relaxed and comfortable way-

Begin to check out the auditory system of the sound track of your memory. Do you even have a sound track? What sounds do you hear coming from that movie? What quality of tones do you hear? At what volume, pitch, and melody? Now check out your language system. What words do you hear from that younger you? From where do you hear these words coming? Notice their tone, volume, and location.

As you notice how that younger you feels, what sensations does that you have in your body up there on the screen? Where and at what intensity, weight, pressure?

What shifts in these submodaiity codings enable you to think comfortably about that old memory? As you make these alterations in your coding you can relax in the growing sense of distance and control that this gives you.

Notice the effect it has for you when you dim the picture of your unpleasant memory. Now turn down the brightness, further, further, until it doesn't bother you anymore. Send the picture off into the distance Soften the tonality of the sound track.

3. Move to a second-level dissociation.

Now imagine yourself floating out of your body in the tenth row of the theater and float back to the projection booth. From this point of view you can see today's self (in the tenth row) watching the younger you on the screen. As you note the adult you sitting in the theater, let yourself also see beyond to the still picture on the screen.

At this second-lev el dissociation, if at any time you feel uncomfortable and need to remind yourself that you are not in the picture, but merely watching it, put your hands up on the plexiglass to remind yourself to feel safe and secure in the control booth.

4. \£[ the old memory play out as you watch it from the projection booth.

Let the initial snapshot play out as a black-and-white movie as you watch the memory from the projection booth. Watch it from the beginning to the end. Then let it play beyond the end to a time when the bad scene disappears and you see that younger you in a time and place of safety and pleasure. As you keep watching after the passing of the trauma, move to a scene of com fort... either at that time or, if necessary, fast-forward your memories to some future event of comfort. When you get to that place, stop the action, and freeze frame the picture. [If the experience becomes especially intense, dissociate to a third level.]

5. Step in and rewind.

The next step will occur really fast. So don't do it until you get all of the instructions about what and how to do it. In a moment, rezvind this memory movie in fast rewind mode, as you have seen movies or videos run backwards. Now rewind this movie backwards at high speed. This time, rewind it while inside it. From that vantage point, you might see a confusion of sights and a jumbling of sounds as everything zooms back to the beginning.

Now associate yourself into the comfort scene at the end of the

movie and feel those feelings of comfort and okayness fully and completely.

Do you feel that comfort scene? Good. Now push the rewind button and experience it rewinding...zooooooommmmm. All the way back to the beginning. It only takes a second or two to do that fast rewind, and how did that feel...rewinding from inside the movie?

When you experience the fast rewinding, all the people and their actions go backwards. They walk and talk backwards. You walk and talk in reverse. Everything happens in reverse, just like rewinding a movie.

6. Repeat this process five times.

Having arrived back at the snapshot at the beginning, clear the screen in your mind. Take a break. Shift your awareness. Open your eyes and look around.

Now, go to the situation of comfort at the end again and, as soon as you step into it, feel, see, and hear it fully...rewind the movie even faster. As you do this over and over your brain will become more and more proficient and the rewind will go faster and faster until the rewind takes only a second each time. Zoommmm!

7. Test your results.

Break state from this exercise. Then after a minute or two, call up the original memory and see if you can get the feelings back. Try as hard as you can to step into the scene and feel the full weight of the emotions.

Other Editing Tools

From the double dissociation position of the projection booth you can not only rewind, you can do numerous other things to change your codings. You have many other choices. You can program vour brain to process the film in ways to give you a great range of perspectives and reframes on the memory.

1. Associate a resourceful memory. Recall the memory of a time when you felt creative, confident, powerful, etc., from the past. See what you saw at that time. Now turn up the brightness on that memory. When you are fully associated into this resourceful state, bring into that scene the negative stimulus (dog, spider) that you fear, or the traumatic memory, and merge the two memories until they integrate and you see yourself handling the situation with your resources.

2. Alter your sound track. Re-process the way you hear yourself and others talk. How would you want to make your voice different? Or the voice of someone else? What qualities would make the memory less intense? What voice would you like to have heard? Install an internal voice to help you through this situation.

3. Add tonal qualities to the sound track to make it better. Take an unpleasant memory and put some nice loud circus music behind it. Wratch the movie again. How do you feel now? Put circus music to other memories of anger and annoyance.

4. Apply your spiritual faith. If, in your spiritual belief system, you can bring in your guardian angel, a loving heavenly Father, etc., then split your screen and see through the eye of your faith, your guardian angel hovering over the earthly scene of your memory. See and hear your angel caring for and loving you. Perhaps you hear, "1 am with you." "I will help you." See Jesus touch you with his healing hand.

5. Symbolically code the memory. For instance, you might want to make the people in your memory transparent. Color them according to how you think/feel about them. Draw a line around the three-dimensional persons in your memory, make them two-dimensional and color them according to your evaluation of them.

6. Humorize your memory. Since laughter gives us a great distancing skill, use your humor so that you can laugh this emotional pain off. How far in the future do you need to transport yourself before you can look back on a memory and laugh at it? What difference lies between a memory you can laugh at and one that you can't? Do you see yourself in one, but not in the other? Do you have one coded as a snap-shot and the other as a movie? WTiat difference lies in color, size, brightness? Imagine the hurtful person talking like Donald Duck. Turn your opponent into a caricature cartoon character with exaggerated lips, eyes, head, hands, etc.

#34 The Accessing And Managing Resourceful States Pattern

Concept. Whenever we don't have our states (i.e., own them, control them), but our states have us, at that point we need to develop the skills for taking ownership over them so that we can manage them. This pattern empowers us to do just that, to take charge of our own life. Here we have some basic tools for changing our states.

Mind and physiology comprise the tools for working with states:

i. Mind: the content of internal representations about things: what we see, hear, smell, feel in the "theater of our mind," plus the words we say to ourselves about those sights, sounds, and sensations.

ii. Physiology: the state of our health, body, neurology, and all the factors that make up and affect our physiological being. State-dependency refers to the fact that our states govern our learning, memory, perception, behavior, etc. State-dependency leads to "emotional expectational sets" ¿ind "conceptual expectational sets" which also determine what we see and hear. Two persons with entirely different emotional or conceptual expectational sets will experience the same event in radically different ways.

Hypnotism and Self Hypnosis v2

Hypnotism and Self Hypnosis v2

HYPNOTISM is by no means a new art. True, it has been developed into a science in comparatively recent years. But the principles of thought control have been used for thousands of years in India, ancient Egypt, among the Persians, Chinese and in many other ancient lands. Learn more within this guide.

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