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." And you finally admitted "Well, there's some slightmovement of the eyes." When you say something is slight, that is astatement about your ability to detect it, not about what's going onwith the other person.It's like "resistance." If therapists would take "resistance" as acomment about themselves instead of their clients, I think the field ofpsychotherapy would develop at a faster rate.Whenever a client"resists," it's a statement about what you are doing, not about whatthey are doing.Out of all the ways that attempted to makecontact and establish rapport, you have not yet found one that works.You need to be more flexible in the way you are presenting yourself,until you get the rapport response you want.What we would like to do next is to offer you an exercise increaseyour sensory experience, and to distinguish between sensory ex-perience and hallucination.This exercise has four parts:Experience vs.Hallucination Exercise: Part IWe want you to sit in groups of three.One of you we'll call A, one B,and one C.A, your job is detection.B, your job is to practice59different kinds of experience.C is simply an observer,and can also help A and B keep track of what to do next.B, you select,without mentioning anything verbally, three different experiences thatyou had which were very intense experiences.They can be from anypart of your life, but make them distinctive, one from the other; don'ttake three similar occasions.You can just identify them by droppinginside and finding representative examples, and simply number themone, two, and three.Then hold hands with A and announce "one." Then go internal,drop out of sensory experience, go back to that time and place, andhave that experience again without any overt verbalization.Take aminute or two or three to relive that experience Thenannounce and relive Then announce "three" and reliveNow there is one incredibly important factor.For those of you whoare very visual, it will be imperative that you do not see there,but see what you saw when you were there.For example, close your eyes and see from sidesomewhere, riding on a roller coaster, just about to go down that firstbig Now step into that image of yourself inside the rollercoaster and see what you would see if you were actually there riding it.Those are very different experiences.The kinesthetics come inprofoundly once you break the dissociation of seeing yourself overthere, and put your perceptual position inside your body on the rollercoaster.As you go back and find these three experiences and re-experiencethem, it is important that you do not do it dissociated.You may beginby seeing then get inside the picture.When you are inside thepicture and you feel the experience in your body again as you didbefore, you begin to squeeze A's hand, thereby cuing them tactuallythat you are now having that experience.A, your job is simply to observe the changes in B, as s/he goesthrough the three experiences.I want you to watch skin color changes,size of lower lip, breathing, posture, muscle tonus, etc.There will bemany profound changes in B that you can see visually as B goesthrough this experience.Part 2B will do exactly the same thing as in Part s/he will announceand re-experience it, then "two" and But this time A will60not only watch the changes but describe them out loud.C's job is tomake sure that all the descriptions that A offers are sensory-baseddescriptions: "The corners of your mouth are rising.Your skin color isdeepening.Your breathing is high and shallow and increasing in rate.There's more tension in your right cheek than your left." Those aredescriptions that allow is watching as well as listening to yourverify, or not, what in fact you are claiming.If A says"You're looking happy; now you're looking worried," those are notsensory-based descriptions."Happy" and "worried" are judgements.C's job is to make sure that A's descriptions are sensory-based, and tochallenge any utterance that is not sensory-based.Part 3This time B goes into one of the three experiences withoutidentifying it by number.You just pick one of the three and go into it.Asits there, again observing B, saying nothing until finishes thatexperience.And then A, you tell B which experience it was: "one,""two," or B continues to run through those three experiencesin any order other than the original order, until A is capable ofcorrectly naming which experience you are having.If A can't do it thefirst time through, simply start over again.Don't tell them which onewas which, or that what they thought was number one was reallynumber three; just tell them to back up and start over again.It's a wayof training your senses to be acute.4This time B goes into any one of the three experiences again and Ahallucinates and guesses, as specifically as can, what the contentof that experience is.And believe me, you can get very specific and veryaccurate.In parts and 3 we you to stay in sensory experience.In part 4we're asking you to hallucinate.This is to make a clean distinctionbetween sensory-based experience and hallucination.Hallucinationcan be a very powerful, positive thing.Anybody who has ever done aworkshop with Virginia Satir knows that she uses hallucination in verypowerful and creative ways, for instance in her family sculpting.Atsome point after she has gathered information she'll pause sortthrough all the visual images that she has, preparatory to sculpting ormaking a family stress ballet.She will change the images around until it61feels right to her.That's "see-feel," the same strategy as spelling orjealousy.Then she takes the images that satisfy her kinesthetically, andshe puts them on the family by sculpting them.That's a case wherehallucination is an integral part of a very creative and effective process.Hallucination good or bad; it's just another choice.But it'simportant to know what you are doing.OK.Go ahead.All right.Are there any comments or questions about this lastexercise we did? Some of you surprised yourselves by the guesses youmade, right? And others of you scored zero.Whether you did well or not is really irrelevant.Either way, you gotimportant information about what you are able to perceive, andwhether or not what you hallucinate has any relationship to what youperceive.You can take the training we're giving you and you can notice as youare communicating with a client or a loved one that the responses thatyou are getting are not the ones that you want.If you take that as anindication that what you are doing is not working and change yourbehavior, something else will happen.If you leave your behavior thesame, you will get more of what you are already getting.Now, thatsounds utterly simple.But if you can put that into practice, you willhave gotten more out of this seminar than people ever get.For somereason, that seems to be the hardest thing in the world to put intopractice.The meaning of your communication is the response youget.If you can notice that you are not getting what you want, changewhat you're doing.But in order to notice that, you have to clearlydistinguish between what you are getting from the outside, and howyou are interpreting that material in a complex manner at theunconscious level, contributing to it by your own internal state.The exercise you just did was essentially limited to one sensorychannel.It was a way of assisting you in going through an exercise inwhich you clean up your visual input channel.You also get somekinesthetic information through holding hands.You can do itauditorily as well, and also kinesthetically.You can generalize thatsame exercise to the other two systems.If you are going to do itauditorily, A would close his eyes.B would then describe theexperience without words, just using sounds [ Pobierz całość w formacie PDF ]