Sunday, September 30, 2007

TRANCE

The first thing that we need to talk about it is the definition of trance. A trance is an altered state of consciousness. What does that mean? Well if you think of any state that you are in now, when that state changes it is altered. So in many respects it's every state is an altered state from the state you were in just a moment ago.

The advantages of knowing how to go into a trance or induce a trance are infinite. Inside of trance states your learning abilities and perceptive abilities are enhanced. You are actually able to accelerate the learning process if you go into a mild trance.

Pattern Interrupt


Altered states are very easy to induce. The simplest trance induction is the pattern interrupt. Anytime you can interrupt a pattern that somebody else is in, they have to go inside their head and figure out where they were so that they can start at the point you interrupted them. If you think about this, you know that it's true.

Every time you speak you form the sentence in your mind first. Your mind does this quite quickly but it is rare that you deliver a full sentence before it is completely formed inside your mind. If I were to interrupt you in the middle of delivering the sentence you had already formed, your mind would go blank for moment. Inside of that blank space is a world of possibilities. While you are inside your head I can put anything I want in there.

The reason that I can do this without getting caught is that if you hear me, it will simply interrupt the process of finding where you were. In essence, it is a double interrupt.

If you don't believe me try this on a waitress. Waitresses are pre-programmed to say a certain phrase when they walk up to the table. Waitresses that have been waiting on tables for a long time are very programmed. If you interrupt them at any point with a question, you can watch their minds go blank.

If you are very aware and notice when the blank spot happens, you can anchor it. Then all you have to do is fire the anchor the next time you want to induce trance.

Unconscious awareness


Bringing to the conscious mind awareness of something that is generally thought of as unconscious will bring about an altered state or trance state. If I would ask you right now, to think about how the spot between your toes feels, it would be something that you normally would never think of. If I would ask you to think about how your shirt feels on the middle of your back, that is also outside your conscious awareness. If I were to ask you think about exactly how this piece of paper feels in your hand, that is also outside your conscious awareness.

The key is to think about the things that people normally don't think about, and get them focused somewhere other than on their consciousness. As you watch them you'll notice that they will go inside their minds to find the information. When they do you can slide commands in.

The easiest trance induction is a 54321 method
1. Something you feel
2. Something you see
3. Something you hear
4. Something you feel
5. Command

Let me give you an example:

As you sit there in your chair and feel the weight of your body pressing down, you can look at this paper and notice the edges as your eyes scan these words. You might hear something in the room around you and feel the paper on your finger and relax.

1. Feel
2. See
3. Hear
4. Command
5. Command

You might notice the beat of your heart and see the colors of the room while listening to the sound my voice. See you can feel good about knowing that you're about to learn now.

This would be followed with two things that you notice and three commands. Then one thing that the notice and four commands. I think you get the idea.

This is also easiest method to do self-hypnosis.

Nonverbal trance


My favorite way to get somebody into a trance state is to get deep rapport, alter my state and pull them in. When you have deep rapport you are, in essence, linked directly in to the unconscious mind. Wherever you go they will follow. I realize that at this point in the seminar that we have not learned deep rapport skills but I thought it would be worth mentioning.

Saturday, September 8, 2007

Calibration

Calibration is the art of noticing the responses you get as they apply to that individual person. This is different for almost every person on the planet. That is why inside of-every interaction you must calibrate to the person in front of you.

Exercise 1 - Awareness. Notice what you are currently aware of in the room. What do you see, hear and understand?

Imagine that there is a smooth surface like water in front of you. Now, imagine you toss a pebble into the middle of your vision and notice the ripples as they spread out. Allow your visual field to expand in all directions as you follow it out. Notice what is on the edge of your field of vision. Notice everything you didn't notice before.

Do the same with your hearing. Imagine your hearing is a smooth pond. Drop a pebble into the middle of it and allow your hearing to spread out. Do you hear things that you did not before?

Now that you have done these we will make it 3d. Take your hearing and your vision and turn them into an expanding 3d bubble of awareness. Let it spread out and fill the room.

Notice someone in the room. Take note of what you notice about them before you widen your awareness. Do the exercise above and then look at them again. How much more do you notice?

Exercise 2 - Open your awareness to allow you to notice everything about the person in front of you. Take all your preconceived notions about who they are and what you think, and set them aside. First ask them a question and have them tell you the truth. Notice the response as they tell the truth. Notice posture, skin tone, eye accessing, breathing, facial expressions and movements. Now, ask them something and have them lie to you about the answer. What differences did you notice? Write them down as quickly as you can.

Now ask them a question and have them choose to answer truthfully or lie but not tell you which. "Guess" whether they were lying or telling the truth. Do this about five times and keep track of your accuracy.

Recalibrate if you have to. Even if they try to deceive you, they will not be able to consciously track all of the things they do to give it away.

Exercise 3 - Do the same as exercise 2 except with emotions. Have your partner pick two different things from his past. One state should make them happy and the other should be something less pleasant. Have them try to hide the difference between them as they go to one state, then a neutral state then the other state. Label them state I and state 2.

Now have your partner go into one of the states and your tell him which state it is. State 1, 2, or neutral. Keep track of your accuracy.

Exercise 4 - Do the same as before but with 2 states that are more similar to make it more of a challenge.

Ambiguities

Get ahead in every sense of the word.

deer/dear
A head/ahead


paradise/pair o' dice
Guise/guys


board/bored
Shoot/chute


(to) like/like (same as)
Pin/pen


bare/bear
Piece/peace


close/clothes
Pare/pair/pear


right/write/rite
Buy/bi/by


(air) plane/(a different) plane/plain
Main/mane


tide/tied
Sail/sell/sale/cell


waive/wave
Apart/a part


(a ) peer /pier /peer (look at)
(eye) glasses/ (drinking) glasses


a breast/abreast
jacket/jack it


poor/pour/pore
apparent/a parent


trance mission/transmission
principal/principle


a loan/alone
state/state (mood)/ (to) state


patients/patience
pool/pull


blow/below
hue/you


sleigh/slay
present (gift)/present (time)/present (here)


more on/moron
tale/tail/tell


in two/into
rock/(to) rock/rock (and roll)


lettuce/let us
knight/night


I/eye
with her/wither


Nose/knows
pay per/paper


Would/wood
entrance/in trance


Teller/tell her
wake (up)/wake (of boat)/(Irish) wake


Wheel/will/we'll
tell a vision/television


(sports) fan/(ceiling) fan

Punctuation Ambiguity

Punctuation ambiguity is when it is unclear where one sentence ends and the other begins. One way of using this is by having a word or phrase that could either be tagged on the last sentence or start out the next sentence. In the conscious conversation this phrase is usually part of the second sentence. By using the tonality in the phrase that you embedded the commands in the first sentence with, the unconscious will associate the phrase with the end of the first sentence. Some examples of commonly used phrases and words are:

Now For me To me
With me

Example: I'm sure that there have been many times when you feel that connection. Now with me,
when I feel that close to this person …

Pausing

The use of pausing when you speak is extremely important. It can make a person … anticipate … your … every … word. Or it can make you seem … uh … stupid. There are a few times when you can as a rule use pausing.

One is when you want to keep a person in suspense and anticipate what you are going to say next. Second is when you want to make a point of a particular word or phrase. Third is when you're using punctuation ambiguity. For example, when you say "... when you feel that. (pause) With me (pause) I ..." The pause might only be slight in this case but the unconscious mind will hear it and know the difference.

Exercise 1 - Get a tape recorder and read language patterns, poems, articles, etc. into it. Listen to yourself noticing where you pause and where you can improve.

Ambiguity

You may have noticed when I was talking about embedded commands that I used the word "buy" in place of the word "by." This is called a phonological ambiguity. It can be two words that sound alike, such as hair and hare. It can also be two words that sound like one word, such as in trance and entrance. You see the unconscious has to take the word and reference back to all the meanings it has. In random conversations this means very little, but when you're embedding commands and stack phrases which are on a certain subject the unconscious will figure out what you really mean.

Remember that the words don't have to sound exactly alike. If you were to substitute the word hue for the word you in the stream of conversation 99.9% of people would never notice the difference.

Exercise 1 - Sit and write down at least 100 phonological ambiguities.

Embedded Commands

Embedded commands are used to say something to the unconscious while you might be saying something completely different to the conscious mind. You can do this by saying all of the words in the embedded commands in one particular note, at a particular volume, etc. The key is to have the note or volume that you embed the commands at distinct from the rest of what you say. For example, if you use the note A sharp to embed the commands, you can't use that pitch elsewhere in your conversation. Personally I find it easiest to drop my pitch slightly on the embedded commands.

Also, when you're embedding a phrase such as, "Buy me presents," the words don't have to be together in the sentence. They don't even have to be in the same sentence. They can be spread out through a paragraph.

I saw a gorgeous Ferrari go buy. To me it seems that some cars have presents of their own.

Also remember that you should embed commands at least three times each. They don't have to be in the exact words but they should be similar: It's easier for the unconscious to take the command at this point than it is to fight it.

Exercise 1
- Embed the phrase "Give me a wild ride," into a paragraph about a safari in Africa.
No more than two words of the phrase can be side by side in the paragraph.

Exercise 2
- Think of phrases that you would like to embed. Then think of a different subject to write about where you can embed the phrase.

Just remember to use a pleasant state that goes with the commands that you're embedding. For example, you wouldn't talk about the most disgusting thing you ever did and embed commands about having a wonderful experience together.

Inflection

Your inflection is important, because according to how you use it you can seem powerful, or not. You see there are three ways of speaking: commands, questions, and statements.

Statements just have a flat inflection at the end, questions go up at the end, and commands go down. This is important because if you say something like "Let's go out" as a question instead of a command you give the other person a chance to say no. Also, a question isn't always a question. If you use the grammatical structure of a question but go down with the inflection at the end of the sentence then you actually make it a command.

Exercise 1- Say these sentences using a downward inflection at the end.

Let's go out.

Come with me. I love you.

Do you want to go out for coffee with me? (taking the inflection down on with me)

Do you understand?

Inflection is also very important for being able to embed commands. You can embed a command using any note, but for the sake of simplicity here we're going to talk about embedding commands by dropping your tone slightly on the command. The difference not only doesn't have to be extreme, but it should be slight so it is only perceptible to the trained ear. Imagine a musical scale; the note you use for the embedded command would be a note or even only a half note lower on the scale than the other notes you're using when you speak.

 

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