STUDY - Technical - New Dacian's Medicine
The
Language of the Conscious (2).
Translation Draft
In yesterday's post we announced that we will discuss sub-modalities, which is nothing more than a language of subtle differentiations, about broadening and deepening perceptions, by more accurately describing the information we obtain with the help of the five senses (VAKOG; V – visual, A – auditory, K – kinesthetic (pipe, touch), O – olfactory and G – tasteful – see previous posts). An example would be, for hearing, the shrill totality, a possible sub-tonality of this perception.
By deepening and broadening your perception, your quality of life, your quality of enjoyment, your ability to observe and your ability to express yourself verbally can be greatly stimulated. Since the beginnings of humanity it has been highlighted the need to use the sub-modalities to give the necessary details to a communication as complete as possible. For example, the term "wind" doesn't say much but "the northern wind that howls sharp and cold, shaking the last leaves off the trees" says more. The more able you are to describe your sensory impressions, by differentiating their qualities, the more diverse and interesting the world will become for you. In the language of the conscious, submodalities are particularly important because, by systematically modifying each subtle differentiation, the subjective valorization of entire areas of memory or experience can be changed. For example, from frustrating to refreshing or emotional.
The sub-modalities of sensory perception are absolutely necessary to describe an individual's desires. They specify a purpose and accurately tell the road that leads to it. Only those who can convey exactly what they want and don't want, has the chance to get what they want and notice when that thing is available to them. If you can describe unequivocally the taste of your favorite fruits, the merchant you're going to buy them from will know exactly what to get you. If you tell him you want apples, it's very possible that he'll provide you with the assortments you like less. The same situation can be encountered with our anchor sheets.
If in our analyses we use a "frugal" vocabulary, it is very possible that we will be surprised by the identification problems that we will encounter. Then, a simple reference, for example (given somewhere in previous posts), eyes, does not suggest much. Filling in with the glimmer of the eye, for us who have noticed it, it gives us a clue but obviously that does not complete exactly what it is. Maybe it's the going happiness after a date, maybe it's the stream of tears, maybe it's the one I've ever dreamed of, the partner with whom I've come together with a single angel. So access to sub-modalities will allow us to clearly identify everything that can be available to us. So, here, there's no need for you to be Spartans talking.
So let's see what's up with the practice of submodalities!
In order to be able to practically accommodate these subtle differences within the five perceptual areas, we will go through together some related lists, "helpful" (a kind of development elements), with the anchor lists, in which we mentioned many of them. Read them quietly and review the volume of vocabulary you use to describe this world (and the one in your cards)! How many ways did you have to describe all your "picked" experiences from available perceptions (VAKOG)? Here's how you'll be able to fill out your files, how you'll be able to verbally describe everything you're living in the future. Trying! Your original texts inserted into your cards can be mostly without sub-modalities.
The time has come to repeat the same theme using several subtle differentiations. Let both versions take effect on you. Which one is closer to real life? Which ones cause more feelings? Which one gets closer and what situations in your life? In a conversation with your coworkers, would you like to use more sub-modalities, or would you prefer the simpler, more superficial form, and why? How are things in the romantic moments you spend with your partner? What happens when you give professional information to others? In this case, why would it be better to give as accurate information/indications as possible?
So, here are the "lists" I was remembering! Use the examples in them and later, regarding the meta-model – the language of the conscious. The subtle differences I will present are often sufficient for practice (but, they are just a selection). Feel free to fill in and adapt these lists to your needs. The more often you do it, the better and more successful your work with the sub-modalities will be. And, another thing, the order chosen is random and was not chosen according to importance.
Sense: Sight. Size (small, large, unusual size – a mouse the size of an elephant, or small – a hippo the size of an ant). Brightness (bright, dark). Color (if so, what color, bright or matte, transparent or opaque, natural/artificial such as yellow bananas that are artificial compared to purple bananas that are artificial, intermediate colors/ changing colors/ constant colours). Black/white (there is also gray or an intermediary of white or black). The position of objects in space (the distance between the observer and objects). Contrast (are dark/bright, differences are large or small, how are things in terms of colors?). Clarity (the contours are clear or vague). Static or mobile image (slide or movie genre). Speed (natural/ slower/ faster). Motion direction: two-dimensional (plane) or three-dimensional (space). The quality of the surface of objects (smooth, rough, patterns, which?). The perspective he's looking at. Small image/large image. Fallen/twisted. The shape of the frame image. Framed/frameless. The symmetry of proportions. How the light falls (where are the umbrellas, where are the best-lit areas?). Fine granulation/ coarse granulation (decomposition). The one who looks is seen in the picture/ is not in the picture.
Sense: Hearing. Height of tonality, type of tonality (major/ minor), tempo, volume. Position of the sound source in the room (right, left, back, front, bottom, top, close, far), foreground/background. Rhythm or rhythm (if there is a rhythm, which?). Sound/tone continuously or with interruptions. Words, music, noises or silence? Duration of perception. Stereo/ mono. Easily distinguishable tones (e.g. a voice) or overlapping tonalities (the murmur of a mass of people). Number of sound sources (remains the same or changes?). Harmonic/ disarmonic. Natural or artificial tones. With resonance/ no resonance (or echo). Sound color (sharp/clogged). Hard or soft tones.
Sense: groping/ body perceptions (kinesthetic). Temperature (hot, cold, variable temperatures). Pressure (strong, equal, changeable). Place and extension of perception (e.g. fingertips or the whole hand, constant or changeable). Number of perceptions. Movement (from where, where or on what path?). Intensity of perceptions (intensive or weak). Surface (soft, hard, silky, hairy, rough, smooth, sticky, wet, dry, sharp, blunt, pattern, pattern, contours, deep or flattened). Duration (how long?). Once or repeated (how often, at what intervals?). Rhythmic/ arrhythmic (if rhythmic, at what pace?). Speed (fast, slow). .
The subtle differences between the two "smell" and "taste" groups are very similar. This results, among other things, from the fact that the same nerves are used within the perception. However, it's something else to smell or taste a salad. In addition, olfactory and taste perceptions mix (ultimately) with certain bodily perceptions, an authentic experience often resulting only in the totality of "smell – taste - body perception". Remember, for example, your last meal; how you smelled it, how you perceived it in your mouth and what it tasted like. So...
Sense: smell and taste. Sweet, sour, salty, bitter, spicy, fruity, floral, reave, aromatic, fresh, burnt, mouldy, sharp, metallic, nutty taste, spicy/ bland, different flavors/ a single flavor. The intensity of the perception, its duration, its persistence. The first taste, the main taste, the persistent taste.
And that's about it. If you had the happy gesture of reading everything before you plunge, everything will flow by itself (indicated would be to read several times). But if you do everything on the go (as is my case regarding the wording of these documentations) it is a happy moment of reanalysis, of more efficiently replacing your anchors from the language of the subconscious to that of the conscious (due to the use of sub-modalities). It will be very possible to discover, due to the lack of details, that some of your anchors are incorrectly "framed". OK, it's no problem to discover yourself with such little effort (not to mention everything that follows). I recall that when we first discussed anchors we were in the area of our subconscious, and now we have managed to make the first "correlations" with the area of our consciousness...
In addition, for those dissatisfied with the relative "return" I must remind you that here on this blog (and his clone on Facebook), I do nothing but record "my class notes". If the teacher gives me this order, i don't even have anything to do. Sometime, as I have announced before, on numerous occasions, I will move to a real structuring, which can only be allowed with the help of a real site and not the existing and possible "oddities" on Wordpress and/ or do platforms. But until then, there's more. However, in my opinion, this year I will be able to finish all these introductory notions and proceed with the development of "class notes" in what I want homework to be. Thanks for understanding!
In yesterday's post we announced that we will discuss sub-modalities, which is nothing more than a language of subtle differentiations, about broadening and deepening perceptions, by more accurately describing the information we obtain with the help of the five senses (VAKOG; V – visual, A – auditory, K – kinesthetic (pipe, touch), O – olfactory and G – tasteful – see previous posts). An example would be, for hearing, the shrill totality, a possible sub-tonality of this perception.
By deepening and broadening your perception, your quality of life, your quality of enjoyment, your ability to observe and your ability to express yourself verbally can be greatly stimulated. Since the beginnings of humanity it has been highlighted the need to use the sub-modalities to give the necessary details to a communication as complete as possible. For example, the term "wind" doesn't say much but "the northern wind that howls sharp and cold, shaking the last leaves off the trees" says more. The more able you are to describe your sensory impressions, by differentiating their qualities, the more diverse and interesting the world will become for you. In the language of the conscious, submodalities are particularly important because, by systematically modifying each subtle differentiation, the subjective valorization of entire areas of memory or experience can be changed. For example, from frustrating to refreshing or emotional.
The sub-modalities of sensory perception are absolutely necessary to describe an individual's desires. They specify a purpose and accurately tell the road that leads to it. Only those who can convey exactly what they want and don't want, has the chance to get what they want and notice when that thing is available to them. If you can describe unequivocally the taste of your favorite fruits, the merchant you're going to buy them from will know exactly what to get you. If you tell him you want apples, it's very possible that he'll provide you with the assortments you like less. The same situation can be encountered with our anchor sheets.
If in our analyses we use a "frugal" vocabulary, it is very possible that we will be surprised by the identification problems that we will encounter. Then, a simple reference, for example (given somewhere in previous posts), eyes, does not suggest much. Filling in with the glimmer of the eye, for us who have noticed it, it gives us a clue but obviously that does not complete exactly what it is. Maybe it's the going happiness after a date, maybe it's the stream of tears, maybe it's the one I've ever dreamed of, the partner with whom I've come together with a single angel. So access to sub-modalities will allow us to clearly identify everything that can be available to us. So, here, there's no need for you to be Spartans talking.
So let's see what's up with the practice of submodalities!
In order to be able to practically accommodate these subtle differences within the five perceptual areas, we will go through together some related lists, "helpful" (a kind of development elements), with the anchor lists, in which we mentioned many of them. Read them quietly and review the volume of vocabulary you use to describe this world (and the one in your cards)! How many ways did you have to describe all your "picked" experiences from available perceptions (VAKOG)? Here's how you'll be able to fill out your files, how you'll be able to verbally describe everything you're living in the future. Trying! Your original texts inserted into your cards can be mostly without sub-modalities.
The time has come to repeat the same theme using several subtle differentiations. Let both versions take effect on you. Which one is closer to real life? Which ones cause more feelings? Which one gets closer and what situations in your life? In a conversation with your coworkers, would you like to use more sub-modalities, or would you prefer the simpler, more superficial form, and why? How are things in the romantic moments you spend with your partner? What happens when you give professional information to others? In this case, why would it be better to give as accurate information/indications as possible?
So, here are the "lists" I was remembering! Use the examples in them and later, regarding the meta-model – the language of the conscious. The subtle differences I will present are often sufficient for practice (but, they are just a selection). Feel free to fill in and adapt these lists to your needs. The more often you do it, the better and more successful your work with the sub-modalities will be. And, another thing, the order chosen is random and was not chosen according to importance.
Sense: Sight. Size (small, large, unusual size – a mouse the size of an elephant, or small – a hippo the size of an ant). Brightness (bright, dark). Color (if so, what color, bright or matte, transparent or opaque, natural/artificial such as yellow bananas that are artificial compared to purple bananas that are artificial, intermediate colors/ changing colors/ constant colours). Black/white (there is also gray or an intermediary of white or black). The position of objects in space (the distance between the observer and objects). Contrast (are dark/bright, differences are large or small, how are things in terms of colors?). Clarity (the contours are clear or vague). Static or mobile image (slide or movie genre). Speed (natural/ slower/ faster). Motion direction: two-dimensional (plane) or three-dimensional (space). The quality of the surface of objects (smooth, rough, patterns, which?). The perspective he's looking at. Small image/large image. Fallen/twisted. The shape of the frame image. Framed/frameless. The symmetry of proportions. How the light falls (where are the umbrellas, where are the best-lit areas?). Fine granulation/ coarse granulation (decomposition). The one who looks is seen in the picture/ is not in the picture.
Sense: Hearing. Height of tonality, type of tonality (major/ minor), tempo, volume. Position of the sound source in the room (right, left, back, front, bottom, top, close, far), foreground/background. Rhythm or rhythm (if there is a rhythm, which?). Sound/tone continuously or with interruptions. Words, music, noises or silence? Duration of perception. Stereo/ mono. Easily distinguishable tones (e.g. a voice) or overlapping tonalities (the murmur of a mass of people). Number of sound sources (remains the same or changes?). Harmonic/ disarmonic. Natural or artificial tones. With resonance/ no resonance (or echo). Sound color (sharp/clogged). Hard or soft tones.
Sense: groping/ body perceptions (kinesthetic). Temperature (hot, cold, variable temperatures). Pressure (strong, equal, changeable). Place and extension of perception (e.g. fingertips or the whole hand, constant or changeable). Number of perceptions. Movement (from where, where or on what path?). Intensity of perceptions (intensive or weak). Surface (soft, hard, silky, hairy, rough, smooth, sticky, wet, dry, sharp, blunt, pattern, pattern, contours, deep or flattened). Duration (how long?). Once or repeated (how often, at what intervals?). Rhythmic/ arrhythmic (if rhythmic, at what pace?). Speed (fast, slow). .
The subtle differences between the two "smell" and "taste" groups are very similar. This results, among other things, from the fact that the same nerves are used within the perception. However, it's something else to smell or taste a salad. In addition, olfactory and taste perceptions mix (ultimately) with certain bodily perceptions, an authentic experience often resulting only in the totality of "smell – taste - body perception". Remember, for example, your last meal; how you smelled it, how you perceived it in your mouth and what it tasted like. So...
Sense: smell and taste. Sweet, sour, salty, bitter, spicy, fruity, floral, reave, aromatic, fresh, burnt, mouldy, sharp, metallic, nutty taste, spicy/ bland, different flavors/ a single flavor. The intensity of the perception, its duration, its persistence. The first taste, the main taste, the persistent taste.
And that's about it. If you had the happy gesture of reading everything before you plunge, everything will flow by itself (indicated would be to read several times). But if you do everything on the go (as is my case regarding the wording of these documentations) it is a happy moment of reanalysis, of more efficiently replacing your anchors from the language of the subconscious to that of the conscious (due to the use of sub-modalities). It will be very possible to discover, due to the lack of details, that some of your anchors are incorrectly "framed". OK, it's no problem to discover yourself with such little effort (not to mention everything that follows). I recall that when we first discussed anchors we were in the area of our subconscious, and now we have managed to make the first "correlations" with the area of our consciousness...
In addition, for those dissatisfied with the relative "return" I must remind you that here on this blog (and his clone on Facebook), I do nothing but record "my class notes". If the teacher gives me this order, i don't even have anything to do. Sometime, as I have announced before, on numerous occasions, I will move to a real structuring, which can only be allowed with the help of a real site and not the existing and possible "oddities" on Wordpress and/ or do platforms. But until then, there's more. However, in my opinion, this year I will be able to finish all these introductory notions and proceed with the development of "class notes" in what I want homework to be. Thanks for understanding!
Love,
Gratitude and Understanding (Namaste)!!!
Dorin, Merticaru