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Turtles All the WayDown: Prerequisites to Personal Genius
by John Grinder and Judith DeLozier

STOPPING THE WORLD WITHLIFELINES


John:
I'm saying that you need to evaluate it from at least three positions. Yours, thers, and the outside position.

Georgine:
That's within you as a subject. So are you talking about the integrity betweenyour own editor and your...

John:
I'm talking about the relationship you have with X. I want you to review that relationship from inside your own perceptual positions; I want you to have the perceptual positoin of the other person, X, and get a second description; and then I want you to get a third position. You're the director in a play andyou're watching this go down. From that position you have to access the intentas well as the congruity of that intent with the actual logical level at which you're been offering support in terms of playing parts of their circuits. 

¡ÊTURTLES ALL THE WAY DOWN: Prerequisites to Personal Genius p.326-327¡Ë


Turtles All the Way Down: Prerequisites to Personal Genius
John Grinder
Judith Delozier
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Multiple Perceptual Positions

We turn our attention, then, to a second pattern that finds explicit form in the new code – the pattern called multiple perceptual positions. In the creation of the new code, the patterning (formats) that confers the ability to occupy multiple perceptual positions is made explicit. It is important to appreciate what this ability represents epistemologically and how it provides leverage points for choice.  

In the epistemology developed at the beginning of Whispering and in other places throughout the book, we have made the point that what we normally refer to as the world is a fundamentally transformed set of representations (FA). Prior to our gaining access to it, the data streaming in from our receptors has been modified by the neurological transforms that define the human nervous system. We captured this point by making the provocative statement that Korzybski was too conservative: not only is the map not territory, but his territory isn't even the territory. We went on to argue that after First Access, we typically apply a second set of transforms that are linguistic in nature (or derivative of linguistic mappings).

We are now asking you to recognize a further filtering or transformation of our experience, unique and specific to each of us as individuals – here we are pointing to the cumulative effects of what we call our personal history.

How, then, are we to understand the term personal history in this context? What is clear is that every natural language offers a rich set of transforms that can be applied to FA. However, at the point when we master the fundamentals of our native tongue, we have no appreciation of any of these facts. What in fact happens is that we intuitively model the linguistic competencies (or lackthereof) of the major influential figures in our life at this point¡Ýusually our parents and members of our family of origin. This is equivalent to saying that out of the full set of transforms offered by our native language, we unconsciously adopt a smaller subset – more specifically, those of our models. This implies that we rarely (without great personal discipline and supporting tools) come to a mastery of the full array of choices offered by our native tongue. The situation here is analogous to the unconscious modeling that results in each of us developing an unconsciously preferred representational system.

This early unconscious modeling of linguistic competencies also explains how the meta model functions to create choice - as it is an explicit method for challenging and expanding the set of linguistic competencies of the individual, client or user. The cumulative effect of unconsciously and systematically applying our personal limited subset of linguistic transforms to our experience (FA) over years is what we call our mental maps or models of the world. In turn through the process of feed-forward, these mental maps become an additional set of filters on our experience. Thus, our personal history is best represented by the mental maps that are the generalizations that we have made over our lifetime, using whatever set of linguistic competencies we happen to have developed.

Many students of NLP, especially in their initial enthusiasm for the effective use of the patterning, seize upon an epistemologically peculiar (and impossible) goal. The task they set about to accomplish is to free temselves from all perceptual filters, often stating that thereby they will appreciate the world without distortion. Such a naive project is surely incoherent. A significant part of what it means to be a member of our speciesis precisely defined by the set of filters that we identified as the f1 transforms. It is difficult to know what it might mean to actually free one's self of such filters.

Although, it is not possible to free one's self from all filtering of the world around us, it is possible to manipulate the distortions resulting from specific f2 transforms. We direct your attention once again towards our previous point, namely, that we as children selected (from the array of linquistic patterns available to us as mapping functions) a limited subset normally those of ourfamily of origin. The cumulative effects over a lifetime of that unconscious selection lead to the development of our mental maps. Focusing our attention on the f2 transforms, a coherent possibility presents itself; namely, that one can train oneself to be excellent at deliberately shifting filters – indeed, to genuinely enter into another perceptual position is synonymous with shifting perceptual filters.


When an individual deliberately trains himself to master the art of shifting perceptual filters, he expands his world of choice. Equipped with a process to systematically offer to himself an array of choices that were previously unavailable, the ability to generate new behaviors in old contexts manifests itself. A natural consequence of creating multiple descriptions of the world¡Ýhence more choice - is more flexibility about how specifically one may act in any given context.

Among the simplest methods to create more choice - a leverage point for flexibility - we can identify the following:

 

1. shifting attention – more specifically, deliberately selecting new portions of the world of experience to attend to as well as how specifically we attend to them.

2. adopting the characteristics and perceptions of some identifiable group. As an example to give the reader a taste of this, imagine what a well-aged hunk of cheese represents from the point of view of:

¡¡a. a mouse

¡¡b. a cow

¡¡c. a starving student

¡¡d. a lactose intolerant patient

¡¡e. a marketing executive

¡¡f. a lawyer

¡¡g. an accountant

¡¡¡¦¡¦¡¦

3. systematically shifting perceptual position from one to another of the three privileged perceptual positions specified by Triple Description. We would like to note here that number 2 above could be classified as a generalized 2nd.


4. developing and deploying with discipline the art of multiple description through the explicit manipulation of the linguistic competencies available. In particular, we are suggesting that the reader use the differences proposed by the processes of description, interpretation and evaluation.

Note that within the potentially limitless set of perceptual positions we can learn to occupy, there is a privileged set that we call Triple Description, listed as number 3 above.
¡Ê'Whispering in the Wind' p.246-248¡Ë

John&Carmen

















Amazon:

Whispering In The Wind
John Grinder
Carmen Bostic St. Clair
John & Carmen Enterprise
2001-12-31





NLP
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TripleDescription

One of the differences between the classic code and the new code is the aggressive exploitation of the power and wisdom of unconscious processing¡Ýwhen properly organized and framed. We exploit precisely this property of unconscious functioning with respect to the application of Triple Description
and its consequences. Among the formats of the new code, Triple Description, in its application, is one of the ways in which a shift to reliance on unconscious processing and an explicit format for shifting perceptual filters takes form. Triple Description is fundamentally an epistemological format.

Triple Description was originally inspired by Bateson's notion of double description (see Steps to an Ecology of Mind as well as Mind and Nature, e.g. page 235) ¡Ý a statement about the inevitability and the attendant wisdom of perceiving any particular phenomenon frommore than one perceptual position. Bateson pointed out that this movement toward achieving a double description occurred from the most fundamental levels of neurological organization – for example, the unconscious saccadic eye movements that we are all subject to that guarantee that we are, in fact, perceiving what we see from two constantly shifting perspectives¡Ýto even higher levels of organization (the system of checks and balances within modern western European and North American political systems). 

Triple Description also owes much toCastaneda's definition of a warrior as a person who collects multiple descriptions of the world (without any movement to resolve the question of which of these descriptions represents reality). Such a position is fully congruent with the epistemology developed in Chapter 1. The question is NOT

What is real?

But, rather

How many ways can we appreciate what surrounds us?

Triple Description itself is the ability to enter into three distinct and highly valued perceptual positions: namely,

1) 1st position: the perceptual position of the person himself – that is, he is seeing through his own eyes, hearing through his own ears and in contact with his body. The person is fully present.

2) 2nd position: the perceptual position of the other person(s)

involved in the context under consideration, seeing the context (including youyourself as an actor in that context) through the eyes (and perceptual positionof the other person(s); hearing the context through the ears of the otherperson(s); and feeling what the other person(s) is experiencing kinestheticallyin the context under consideration. 
    

3) 3rd position: a perceptual position fromwhich you are able to see and hear clearly and cleanly that which is occurring in the context under consideration including a representation of yourself as one of the actors, from this privileged outside perceptual positions, director or observer position. See expanded expanation of 3rd position after the example below.

The example that 

follows is a story that enfolds from each of the three perceptual positions enumerated above. The narrative describes a specific situation involving a person (Angela) who planted a garden and the person (Geraldo) whowas hired to maintain that garden. The dialogue moves from 1st position (I - Angela), to 2nd position (he¡ÝGeraldo - other person involved in the context), and, finally into Angela's 3rd position (meta, observer, director or consultant position). Please note that in this specific example that after entering 2nd position and 3rd positions, Angela always re-enters 1st position (I - Angela). This repetitive re-entry into 1st after entering each of the other positions is highly effective and represents one of the sets of variations about how to operationalize Triple Description. The intention for offering the following detailed example is to provide the reader with an explicit application format for using triple description on an individual basis.
¡Ê'Whispering in the Wind' p.248-250¡Ë

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Whispering In The Wind
John Grinder
Carmen Bostic St. Clair
John & Carmen Enterprise
2001-12-31






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Turtles All the Way Down: Prerequisites to Personal Genius
John Grinder
Judith DeLozier
Grinder, DeLozier and Associates
1995-09




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¤³¤Î¥»¥ß¥Ê¡¼¤ÎÃæ¤Ç¡Ö»°½Åµ­½Ò¡×¡ÊTriple Description¡Ë¤È¤¤¤¦¸ÀÍÕ¤¬»È¤ï¤ì¤Æ¤¤¤Þ¤¹¡£¤³¤Î¸ÀÍդϤâ¤È¤â¤È¡¢Ê¸²½¿ÍÎà³Ø¤ÈÀº¿À°å³Ø¤Î¸¦µæ¼Ô¤Ç¤¢¤ë¥°¥ì¥´¥ê¡¼¡¦¥Ù¥¤¥È¥½¥ó¤¬¡ÖÀº¿À¤ÎÀ¸ÂֳءפȤ¤¤¦Ãø½ñ¤ÎÃæ¤Çµ­½Ò¤·¤¿¡ÖÆÃÄê¤Î¸½¾Ý¤òÆó¤Ä°Ê¾å¤ÎÃγХݥ¸¥·¥ç¥ó¤«¤é·Ð¸³¤¹¤ë¤³¤È¤Ï¸­ÌÀ¤Ê¤³¤È¤Ç¤¢¤ë¡×¤È¤¤¤¦¸ÀÍդ˴ð¤Å¤¤¤Æ¤¤¤Þ¤¹¡£

¡¡¡üÃγХݥ¸¥·¥ç¥ó Perceptual Positions:
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¡¡¡ü»°½Å¡Ê¿½Å¡Ëµ­½Ò Triple(Multiple)Description:
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