Ok, the second is more complicated
it's called isomorphic metaphor
I'm gonna tell you a story about a client I had
isomorphic
isomorphic means one to one mapping with relationships
that comes out of mapping theory
a very simple concept
so, what's the intention of using a metaphor?
well
actually I should of begun
I go back to the beginning, I haven't said anything
what does a farmer do before they plant the seeds in the fields
they prepare the ground
that's the purpose of metaphor
you are gonna activate access to the unconscious
you are gonna stimulate
its activity so it's there is ready to grab what you are about to present
before you do it explicitly, you prepare the ground
what is the first thing a really good cook does?
clear the counters
set up want they need, the ingredients
and the begin the process
what is what a good mechanic do with the car?
so
the farmer, the culinary, the chef
they are all the same
do you understand these are the same thing
at the level of structure
so the trick here
is to create a metaphor
which has one to one relationship
with the key elements in the presenting context
we are gonna call problem, the challenge
now
by changing the nouns
by changing the names
of what you are talking about
the conscious mind goes..."Oh!
why is he talking about a farmer
so you distract it
you send the conscious mind off
on a fruitless attempt to figure it out what the hell are you doing
so, you don't have the guardians of the unconscious
screening for you
there's no screening
god its boring sitting here listening to these stories
this is what many people told me when I sent them to Erickson for the experience, they'll go:
"well, he was amazing but
I almost felt asleep a number of times"
yeah, you did
so, isomorphism
you changed the names involved
you change the nouns in order to confuse and distract the conscious mind
how does the unconscious mind know who is you?
this character in this somatic space represents
the wife in this family and this one
the grandmother and this one the child
because the relationships between the counterpart elements in the somatic space
are the same as the relationships between the characters they represent
the unconscious is full of relationships
that's why dreams are so weird it doesn't care about nouns
pigs can fly
sure
if they are propelled by
now you start to relationship partners
your unconscious is constantly treating you
to metaphors by changing the nouns
and giving you dreams where the relationships are stable
are they are pointing at things in your life
but
the puzzle was there
which I think is quite appropiate
ok
let's say that those are the 4 key elements
in this particular
presentation
so, step one is missed
the key elements
the things and events that mark this particular presentation
now, think of the somatic space, horticulture
carnival
sports
writing a novel
intuitively pick one
Just hold it
I don't wanna know what it is
in general you wanna it to be something you know quite a bit about
if my client is a nuclear physicist
and I'm using entanglement theory
I'm probably gonna get into trouble
because he or she knows a hell of a lot more about entanglement
I'm not gonna talk to a professional pilot
about the intricacies of
turbulence
and the lifts
and the stall speeds and
different altitudes like turning as oppose to straight and all that
no, he's got that
he's got that space
unless I really know what I'm talking about
in which case is now totally
compelling because he knows the metaphor is accurate
so
something you know quite a bit about
something you like talking about
because it has a nice impact on your state
you don't need any frame when you tell the story
however if you are a little uncomfortable
you can talk explicitly about it and suddenly you are gonna tell a story
so
I'm not sure how to respond to what you described
if my brother were here
if my grandfather, if my blah blah blah
if Milton Er...
they will look in the eye and say
and now you tell the story
so, it gives you a transition
I actually like sharp edges
I don't even do that kind of transition
and by the way, if at any point as you are telling the metaphor
the client starts to offering you signals
that they are getting constantly
then you talk about a sprout of corn
which towered over the local
oak trees I've never seen anything like that
what's that?
a distraction
they can't fit that in because it doesn't fit
you disoriented them once again
now, what if the client works out what's going on
and says blah blah blah
and the answer is you can now elaborate the story
now you continue and you have a new isomorphism
which incorporates whatever the feedback was
and you get further away from her ability
to make sense consciously out of it
because you want the unconscious to take part of this particular process
how do you know when to stop the metaphor?
well, there's a structural issue here
this is a pacing and you present the story
and where you present the story is exactly what we are talking about here
you delivery
notice
how slowly
I will tell the
story when I have a target that i'm working for
and the emphasis which I'm marking with my hand
the rhythm and my presentation
will be a multiple
of your heart rate or your breathing pattern
each time you reach the top your inhalation cycle
i'll mark it, at the bottom or the mid point, it doesn't matter
It's arbitrary as long as it's synchronized with your ongoing movement and particularly your respitory
if a woman's wearing dangling earings
you can read the pulse straight off the earing
lets not rush past this, did you understand what I said?
any repetitive body rhythm
where there's respiration or heart rate
that you can get access to by calibration and mentioning a couple of tricks
if a person's leg is crossed over here
the the label actually moves with the pulse
there's lots of places in the body where you can learn to
recognize through physiological movement
so use those and then deliver
that will insure deep rapport
lots of space
slow down
drop the voice
use a special voice or metaphor
and another voice when you're talking to both concious and unconcious
and pass these delivery variables on
and these are just words
and you know go out there and practice it
just have a conversation with someone different
whatever you are doing just change the delivery variables
notice state change
if you're discovered
and its clear to you
so you just throw one of these things in where you can do not be folded into
the start
so you continue the story and distract them with stuff inside the story
that has no relevance to what you're doing here
you could change your voice a bit
to mark out that I'm just now messing with you
then drop the voice and continue the metaphor so there's lots of things to do about it
so I adjust the form of delivery
using the same process and structure
for the particular context, the person
there age
there background, etc...
and this'll work great, okay?
How do you make the marking work?
As in so far
as in the example of the
quotes metaphor, the simple one at the beginning
you say "and i looked into his eyes and said"
and you do what you're describing
sets it really far off the pattern
slow it down
let the responses develop nicely
so you can actually see, feel and hear
so this is all
I think this is apparently
requires practice
so I would recommend as a way of getting into the game here
that you each evening go "what's happening tomorrow"
in fact tomorrow you have to present a metaphor so this is a perfect example
and okay what's a metaphor? What's the message?
How do we want to do this? Which form? and by the way
I'm going to talk about solutions based moment but
I want to present the third metaphor, so if
comes to me and says blah blah blah blah and he's
talking about his great uncle
and he's a character I don't really know
where does this guy live? So what i'll do is
anchor, the voice quality changes
posture, touch or whatever
i'll anchor the key elements instead of writing them on a list somewhere either internally or
externally
and now I can say when Buck Rogers
got to Mars
so I don't need structure the structure isn't
i'm making the connections not through isomorphism
but through anchoring
so I can have a flea but if I touch that same anchor
and when I mention the flea
so the characters
can be gotten to by structural means or by direct anchoring
so you anchor the key elements and then
you can tell whatever story you want
and the relationships don't have to be the same
so reduce the structure and put some more on your anchoring which is a calibration
excercise with timing and calibration
A review the quotes
formulate the message
create a fitting disguise a context
in which you can pass it, match your actions
to the words you're using
deliver it
second: isomorphism
change the names to confuse everybody
keep the relationships constant
and build yourself a metaphor
and sure off the plane or
a labyrinth and extend it with an example I offered earlier
and third: replace structural
elements to make sure
the unconscious knows what the passing characters are
with direct anchoring
and you'll see different postures and qualities