Текст книги "Using Your Brain —for a CHANGE"

Автор книги: Richard Bandler

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This time I want you to keep everything the same, except you'll use distance instead of size. The first picture will start out bright and close. The second picture will start out dark and far away, and then it will quickly come closer as it brightens, while the first picture recedes into the distance and darkens. This is a fairly small change, and to some of you it may not seem different at all, since size and closeness are strongly correlated. But it is a first step toward teaching you how to use the swish pattern in a much more general and flexible way. Take another fifteen minutes to do the swish with distance, instead of size.

Did using distance rather than size make a difference for some of you? You can use any submodality distinctions to do the swish, but it will only work well if the distinctions you use are subjectively powerful to the person you are working with. Brightness and size are powerful for most people, so the version I taught you first will work more often than not. Distance is another submodality that is important to many people, so I had you try that one next. But if size, brightness, and distance aren't important to the person, then you have to find out which submodalities are impactful, and design a swish using those.

A couple of years ago I saw three clients for a videotape session (see Appendix II). The first client I saw was a woman who was suffering from "anticipatory loss." I love the names they come up with to describe how people are messed up! What it boiled down to was that if she had arranged to meet someone who was close to her and that person was a half–hour late, she had what she called a panic attack. She lost her marbles and began to step on them. When I asked her what she would like to have from the session, this is what she said:

I have a problem with a fear that is almost disabling to me at certain times. When I have it, I sort of go into panic attacks. What I would like to do is distance myself, so that when I'm in the situation I wouldn't experience the fear to the degree that I have it, where I could control myself and make better decisions.

Since she talked about wanting to "distance" herself, she gave me a clear indication that distance was an important submodality for her. She also talked a lot about people who were "close to her" and "close relationships." Later when talking about what she did when someone was late she said, "I need to allow them some distance – I mean allow them some time." With this woman a swish using distance will be much more powerful than one using size. In fact, I went ahead and tried the standard swish using size to find out if it would work. It had very little impact. Then I used distance, and it worked perfectly.

The most important part of doing the swish in a really artistic way is to carefully gather the information you need to set it up appropriately. When someone talks about something being "bigger than life" or being "blown out of proportion," that's a pretty good indication that size is an important variable to use.

When somebody describes a limitation he wants to change, you need to be able to pay attention to how this particular problem works. I always keep in mind that anything that anybody has done is an achievement, no matter how futile or painful it may be. People aren't broken; they work perfectly! The important question is, «How do they work now?» so that you can help them work perfectly in a way that is more pleasant and useful.

One of the things I do to gather information is to say to the client, "Well, let's say I had to fill in for you for a day. One of the things I would have to do is have your limitation. How would I do it? You have to teach me how to have this problem." As I begin to presuppose that it's an achievement – something learned that can be taught to someone else – it entirely changes the way the person is able to deal with and think about the difficulty.

When I asked the woman who panicked when people were late to teach me how to do it, she said:

You start telling yourself sentences like, "They're late; they may never come."

Do you say this in a bored tone of voice – "Ho hum"?

No. The voice starts out slowly, "Give them another half hour." Then it speeds up as the time gets closer.

Do you have any pictures in there?

Yes. I see a picture of the person maybe in a wreck, as if I'm standing there looking on, like through a zoom lens. At other times I'm looking around through my own eyes out at the world and there's no one there.

So in her case she has a voice that speeds up and rises in pitch as time goes on. At a certain point the voice says, "They'll never come" and she makes close–up, zoom–lens pictures of the person in a wreck, or of being all alone.

When I asked her to try making the picture of the wreck, I found that zooming in or out had a very strong effect. When I tested brightness, she said, "The dimness creates distance." That tells me that brightness is also a factor.

Now I want you to pair up with someone and ask him to think of a limitation – something that he considers a problem and wants to change. This time I don't want you to fix it; I only want you to find out how this achievement works. Use the frame of «Let's say I had to fill in for you for a day. Teach me what to do.» Do the same thing you did earlier when you found out how a person got motivated to do something.

Whenever someone is compulsed to do something he doesn't want to do, something inside has to amplify to a certain point. Something has to get bigger or brighter or louder, or the tone changes, or the tempo speeds up or slows down. I want you to find out how this person achieves this particular limitation. First ask him when to do it, and then find out how he does it: what does he do on the inside that drives his response? When you think you have identified the crucial submodalities, test by asking your partner to vary them one at a time, and observe how it changes his response. Then ask him to take a different picture and again vary the same submodalities, to see if it changes his response to this other picture in the same way. Find out enough about how it works so that you could do this person's limitation if you wanted to. When you have this information, it will tell you precisely how to swish this particular individual. Don't actually swish them; just gather the information. Take about a half hour.

Man: My partner has two pictures representing two different states: desirable and undesirable. In one of them he sees jerky movement, and in the other one the movements are smooth and graceful,

OK. Do these two pictures create and maintain whatever he considered to be the difficulty? That was my question. I didn't ask about where the person wants to go yet: I only asked how he creates the difficulty. With the woman with panic attacks, she has to get from the state of "Ho, hum" to the state of "freaking out." She starts with a voice and pictures. Then she has to make the voice get faster and higher–pitched, and the picture gets closer and closer as time runs out.

Man: My partner has a feeling of urgency—

Of course. That's the feeling of compulsion. But how does he make that feeling? What is the critical submodality? In essence, what you want to know is, «How does this person already swish himself from one state of consciousness to another?»

Man: What makes it different for him is wrapping the picture around him. He pulls it in and around himself and steps into the picture and looks at the picture from his own eyes.

OK. Good. That's how he gets into the state he doesn't want to be in.

Man: Yes. He first gets into that state, and then dissociates by stepping out of it, putting it back over here to his left, away from him, and stands at a distance of several feet away from it,

OK. So association/dissociation is the critical submodality There aren't that many choices, so we are going to find some repetition. What other critical submodalities did the rest of you find?

Woman: The width of the picture, along with brightness, were critical. When the picture narrowed and dimmed, she felt constrained.

That makes sense. If you get skinny pictures, you feel constrained.

Woman: What she did was like a synesthesia.

These all work by synesthesia. That's what we're experimenting with. Think about it. When you change the brightness of an image, it changes the intensity of your feelings. These are all synesthesias. What we want to know is how they are related, so we can use that relationship to build a swish.

What you need to know in order to build a swish for her is whether or not narrowing any picture makes her response stronger, and whether dimming any picture makes her response stronger. You see, it may be that she uses the word «constrained» because she doesn't like the particular choice that she's left with in that picture. If she sees a choice she likes and the picture narrows, she may describe the feeling as «purposeful,» or «committed.» If narrowing and dimming make her response stronger, you can build a swish for her by starting with a narrow, dim «problem state» picture which gets wider and brighter as the desired state picture gets narrower and dimmer. That will sound strange to most of you, but keep in mind that everyone's brain is coded somewhat differently. What makes the swish really elegant is designing it so that a particular brain will respond to it strongly.

The other alternative is that making this particular picture of few choices narrow increases the intensity her feeling constrained, but that making an image of her with choices gets a stronger response if she broadens it. In that case, you could have the problem picture narrow down to a line, and the solution picture open up out of that same line. So you'll have to go back and find out more about how it works before you'll know the best way to design a swish for her.

I'm telling you about these possibilities so you begin to understand how important it is to tailor your change method to each person. You want to create a direction where the old problem image leads to the solution, and the solution image creates a response of increasing intensity.

Man: My partner had a picture with a double frame – one black and one white – and the image is slanted instead of being straight up and down. The top of the image tilts away from her when she panics.

What changes? Does she bring the image up straight at some time? If the image goes back at an angle and has a border, then she panics?

Man: No, it's just there.

Well, it's not just there. It has to come from somewhere. What we are looking for here is what changes. Once she gets to the picture you described, she has panic. But the image has to start out being somewhat different. I hope she doesn't panic all the time! How does she get there? Does it have to do with the changing of the picture's angle? Or is the angle fixed and something else changes?

Man: It starts out being straight up and down, and as the situation changes, it becomes slanted.

So as the picture tilts, so does she. When it reaches a certain angle, she panics. Does the picture have the double border when it's vertical?

Man: Yes.

So the border is not a critical element, it just happens to be there. Does anything else happen as the picture tilts? Does it change brightness or anything like that? Does the speed of the images change?

Man: No. The sound also becomes sort of blurred and buzzy.

And you are sure that nothing else changes visually.

Man: No.

Good. I'm glad you're not sure. It seems like just tilting an image wouldn't be enough. You can go back and ask her. Have her take a picture of something else and tilt it and find out what happens. If just tilting any picture is enough to make her feel "off–balance" and panic, you could have the first picture tilt down to a line while the second picture tilts up to the vertical. Or you could tilt the first picture down, and then flip it all the way over to show the second picture on the other side. Take her for a real ride! Have you seen the video effects on television in which a square comes out and flips around? As it flips around it ends up being a new image. You could do it that way. Are you all beginning to understand how you can use this information to construct a swish that will be especially powerful for a particular person?

Man: My partner's problem was caused by the fact that he lost the background of what he was looking at. It just began with a lot of people in a background, and when he got to a critical place, the background was all gone; there were just people there.

Was there a change in the focus, or the depth of field?

Man: It just disappeared. I guess it's out of focus. It's not there.

But the things in the foreground are clear?

Man: They are as clear as normal; they are not changed.

Is it like looking through a lens? With a lens you can get one part to be clear and the other parts are blurred. Is that sort of what you are talking about?

Man: No, it isn't. It's as if he put a mask over everything except the people involved, and everything else disappeared.

And the people are standing on nothing?

Man: I guess the chairs and things they were sitting on would be there, but everything else in the room was cleared. The concentration was apparently on people.

OK. But you don't know how it was done – with focus or whatever?

Man: No, I don't know that.

That is the part you need to know. You want to know how the transition occurs, so that you can use that method of transition with any picture.

Woman: The fellow I was working with had a still slide, with no movement or color. When he first sees the picture, he talks in his own voice, and it's a mid–range tone of voice: "Hmmmm, not bad," the tone going down and up. Fairly quickly the voice changes and becomes monotonous and low. That's when he feels bad.

The picture remains constant? It doesn't change at all? I find it a little difficult to believe that while he changes his tone and tempo of speech, the slide remains constant – that the brightness or something else about it doesn't change – because I simply haven't found it. That doesn't mean it's not possible, but I find it very unlikely. People can lead auditorily, but usually something else changes along with the voice. Let's assume that he's looking at a picture and he just talks himself from one state to another by changing his tone of voice. That will work. You will also need another auditory parameter if you are going to do an auditory swish. Probably the tempo will change. There will usually be more than one parameter that changes.

Man: If you are looking for another variable, and could get one in another modality so you had one visual and one auditory submodality, would that mixture work?

It can, but most of the time you don't need it. You could do that if you really couldn't find a second submodality in the same system. The reason I'm emphasizing the visual system is because the visual system has the property of simultaneity. You can easily see two different pictures together at once. The auditory system is more sequential. It's hard to pay attention to two voices at once. You can do a swish auditorily, but you have to go about it a little differently. If you learn to be precise in the visual system, then when you start dealing with the auditory channel it will be easier to adapt.

Man: The reason I asked that is because with my partner the pictures change, but also as she steps into the picture, she can hear herself. I'm wondering in doing the swish whether it would sort of nail it shut by adding an auditory piece.

Yeah. "Nailing it shut" is a good way to think about it. If you do a swish with only one submodality, that's like nailing two boards together from only one direction. A dovetail joint has nails or screws going into it from two directions at once. If you pull one way, one set of nails holds it; if you pull the other way, the second set of nails holds it. That's why it's important to use two powerful submodalities simultaneously when you do the swish. People usually won't vary more than one submodality at a time on their own, and you'd have to vary at least two at once to undo a swish.

If you're doing a visual swish and there are also auditory components, typically the person will demonstrate the auditory shifts to you unconsciously as she tells you about the two pictures. Then when you are telling her to make the pictures, you can do the auditory shifts externally with your voice, without mentioning it. In order to do that well, you need to be able to speak in someone else's voice.

The skill to be able to copy someone else's voice is simply a matter of practice, and it's a talent that is well worth learning to do in this business. After a while you discover that you don't have to match someone perfectly; you just have to get a few distinct characteristics. You need enough so that if you do somebody's voice, he won't notice whether he is talking to himself or you are. It's the old pattern of, "Well I went inside and said to yourself ... " I used to do that a lot in workshops, and very few people noticed.

I want you all to go back to the same person you were with a few minutes ago, and find out the one or two analogue submodalities that are most important in creating the limitation. Some of you already have that information, but a lot of you don't.

Next I want you to get that second picture of how he would see himself differently if he no longer had the limitation. This picture must be dissociated, and the first picture will always be associated. Association in the first picture and dissociation in the second will always be one element of the swish.

Next you'll build a swish using the two analogue submodalities you've identified as important (instead of the size and brightness you used in the standard swish). First have your partner make an associated picture of the cues, using whatever submodalities create a strong response (a big, bright picture). Then have your partner make a dissociated picture of themselves as they would like to be, beginning with the other extreme of those same submodalities (a small, dim picture). When you swish, the submodalities will change so as to rapidly weaken the response to the first picture at the same time that they strengthen the response to the second picture. Come back in about half an hour.

What you have been doing is the basis for using the swish artistically and with precision. You can always just try the standard swish. If it doesn't work you can try a different one and keep going until you find one that works. That is certainly better than not trying another one. But it's even better to gather enough information so that you know exactly what you're doing, and you can predict ahead of time what will work and what won't. Do you have any questions?

Man: What do you do with a client who doesn't have much awareness of internal process? When I ask some of my clients how they do things inside, they just shrug and say, "I don't know."

There are several things you can do. One is to keep asking until they pay attention inside. Another is to ask a lot of questions and read the nonverbal "yes/no" responses. Ask, "Are you talking to yourself?" and watch the response just before the verbal «I don't know.» This technique is discussed fully in the book Trance–formations.

Another thing you can do is to create the problem situation and observe the person's behavior. All submodality shifts are demonstrated in external behavior. For instance, when someone brightens a picture, the head rotates back and up, but when a picture comes closer, the head moves straight back. If you observe people when you ask them to make submodality changes, you can calibrate to the behavioral shifts that we call "submodality accessing cues." Then you can use those shifts to determine what someone is doing inside, even when he's not aware of it. I always use this calibration as a check to be sure the client is doing what I ask him to.

Like everything else in NLP, the more you know how change works, and the more you are calibrated to behavioral responses, the more you can do things covertly. For instance, sometimes a person has to practice the swish a few times. You can ask her to do it once, and then ask her, "Did you do it right?" In order to answer that question, she'll have to do it again. Then you can ask, "Are you sure you did it right?" and she'll have to do it again. She'll also do it faster and easier that way because she isn't consciously trying to do it.

Woman: Do you have any long–term follow–up studies of the effectiveness of this method?

I'm much more interested in twenty–minute follow–up studies. The only good reason for a long–term follow–up study is if you can't tell when the person changes in your office. Think about this: if you did produce a change in someone and they remained changed in that way for five years, what does that prove? That says nothing about whether or not that change is a valuable one, or whether or not it could have evolved any further. You see, making it possible for a woman to not be phobic of worms or not be compulsed to eat chocolate, is not a very profound accomplishment, even if it lasts the rest of her life. The important thing to understand about the swish pattern is that it sets the person in a direction that is generative and evolutionary. When I have done longer–term follow–ups on people I've swished, they typically report that the change I had made became the basis for all kinds of other changes that they are pleased with. The swish pattern doesn't tell people how to behave, it keeps them on the track of going toward what they want to become. To me, setting that direction is the biggest part of what change is all about.

(For information on videotapes of the Swish pattern, see Appendixes II and IV.)