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.So association/dissociation is the critical submodalityThere aren't that many choices, so we are going to find somerepetition.What other critical submodalities did the rest of youfind?Woman: The width of the picture, along with brightness, werecritical.When the picture narrowed and dimmed, she felt con-strained.That makes sense.If you get skinny pictures, you feel con-strained.Woman: What she did was like a synesthesia.These all work by synesthesia.That's what we're experi-menting with.Think about it.When you change the brightnessof an image, it changes the intensity of your feelings.These are146 Using Your Brainall 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 iswhether or not narrowing any picture makes her responsestronger, and whether dimming any picture makes her responsestronger.You see, it may be that she uses the word "constrained"because she doesn't like the particular choice that she's left within that picture.If she sees a choice she likes and the picturenarrows, she may describe the feeling as "purposeful," or "com-mitted." 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 thedesired state picture gets narrower and dimmer.That will soundstrange to most of you, but keep in mind that everyone's brain iscoded somewhat differently.What makes the swish really elegantis designing it so that a particular brain will respond to it strongly.The other alternative is that making this particular picture offew choices narrow increases the intensity her feeling constrained,but that making an image of her with choices gets a strongerresponse if she broadens it.In that case, you could have theproblem picture narrow down to a line, and the solution pictureopen up out of that same line.So you'll have to go back and findout more about how it works before you'll know the best way todesign a swish for her.I'm telling you about these possibilities so you begin to un-derstand how important it is to tailor your change method to eachperson.You want to create a direction where the old problemimage leads to the solution, and the solution image creates aresponse of increasing intensity.Man: My partner had a picture with a double frame oneblack and one white and the image is slanted instead of beingstraight up and down.The top of the image tilts away from herwhen she panics.What changes? Does she bring the image up straight at sometime? If the image goes back at an angle and has a border, thenshe panics?Man: No, it's just there.Well, it's not just there.It has to come from somewhere.The Swish 147What we are looking for here is what changes.Once she gets tothe picture you described, she has panic.But the image has tostart out being somewhat different.I hope she doesn't panic allthe time! How does she get there? Does it have to do with thechanging of the picture's angle? Or is the angle fixed and some-thing else changes?Man: It starts out being straight up and down, and as thesituation changes, it becomes slanted.So as the picture tilts, so does she.When it reaches a certainangle, she panics.Does the picture have the double border whenit's vertical?Man: Yes.So the border is not a critical element, it just happens to bethere.Does anything else happen as the picture tilts? Does itchange brightness or anything like that? Does the speed of theimages 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 animage wouldn't be enough.You can go back and ask her.Haveher take a picture of something else and tilt it and find out whathappens.If just tilting any picture is enough to make her feel"off-balance" and panic, you could have the first picture tilt downto a line while the second picture tilts up to the vertical.Or youcould tilt the first picture down, and then flip it all the way overto show the second picture on the other side.Take her for a realride! Have you seen the video effects on television in which asquare comes out and flips around? As it flips around it ends upbeing a new image.You could do it that way.Are you all begin-ning to understand how you can use this information to constructa swish that will be especially powerful for a particular person?Man: My partner's problem was caused by the fact that helost the background of what he was looking at.It just began witha lot of people in a background, and when he got to a criticalplace, the background was all gone; there were just people there.Was there a change in the focus, or the depth of field?148 Using Your BrainMan: It just disappeared.I guess it's out of focus.It's notthere.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 getone part to be clear and the other parts are blurred.Is that sortof what you are talking about?Man: No, it isn't.It's as if he put a mask over everythingexcept 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 wouldbe there, but everything else in the room was cleared.The con-centration was apparently on people.OK.But you don't know how it was done with focus orwhatever?Man: No, I don't know that.That is the part you need to know.You want to know howthe transition occurs, so that you can use that method of transitionwith any picture.Woman: The fellow I was working with had a still slide, withno movement or color.When he first sees the picture, he talksin his own voice, and it's a mid-range tone of voice: "Hmmmm,not bad," the tone going down and up.Fairly quickly the voicechanges and becomes monotonous and low.That's when he feelsbad.The picture remains constant? It doesn't change at all? I findit a little difficult to believe that while he changes his tone andtempo of speech, the slide remains constant that the brightnessor something else about it doesn't change because I simplyhaven't found it.That doesn't mean it's not possible, but I findit very unlikely.People can lead auditorily, but usually somethingelse changes along with the voice.Let's assume that he's lookingat a picture and he just talks himself from one state to anotherby changing his tone of voice.That will work.You will also needanother auditory parameter if you are going to do an auditoryswish.Probably the tempo will change.There will usually be morethan one parameter that changes.Man: If you are looking for another variable, and could getThe Swish 149one in another modality so you had one visual and one auditorysubmodality, would that mixture work?It can, but most of the time you don't need it.You could dothat if you really couldn't find a second submodality in the samesystem.The reason I'm emphasizing the visual system is becausethe visual system has the property of simultaneity.You can easilysee two different pictures together at once.The auditory systemis more sequential.It's hard to pay attention to two voices atonce.You can do a swish auditorily, but you have to go about ita little differently [ Pobierz całość w formacie PDF ]