I see what you are saying


 I feel what you are saying is unclear







見る see


言っている saying


感じる feel


言っている saying


不明瞭 unclear




 I see what you are saying



  視覚          聴覚

 (私は見ます)      (貴方が言っていること)

 I feel that what you are saying is unclear



  体感覚         体感覚          視覚

 (私は感じます)     (貴方が言っていること)  (不明瞭だ)







はい、こんばんは。私の名前はリンダです。私は皆さんとここにいることに本当に興奮を感じて(feel)います。私は多少緊張して(チクチクしてtingly)少しナーバス(nervous)になっています。私の希望は、本当に私自身と交信する(getintouch with)こと、そして・・・



ワォ!私はこのグループを見(looking)回して、たくさんの輝く(shining)顔を見ています。私はジョージです。私が得ている光景(picture)は、現実に焦点が合って(focused)います。私が見たい(take a look)のは、私のガールフレンドとの関係と、私たちの未来を更に明るく(brighter)するために私がどのようにして手助けできるかです・・・。



私はポールです。私はこの二人、リチャードとジョンについてたくさんの素晴らしい話を聞いて(heard)います。私たちは一緒に本当にクールな時間を過ごそうとしているように聞こえます(sounds)。私は、おそらくここは私の中で起こっていることを本当に調整する(really tune into)ことができる場所−言い換えれば(intheother words)、グループ−だと私自身に言っています(saying tomyself)。








Now with this distinction, we can explicate the pattern implicit in the descriptions of the context of the to incidents: the game Grinder and Bandler had played on the car trip to Santa Cruz and the awarding of different colored pieces of paper in the initial group meeting. Note in the first instance, the examples:

 I see what you are saying

 feel thatwhat you are sayingis unclear


Analysis: note the underlined predicates (verbs and adjective) are specified with respect to the sensory modality they presuppose.The following classification makes this explicit.
 Participant's predicate/ Representational system indicated
  see / visual
  saying / auditory
  feel / kinesthetics
  saying / auditory  

      unclear / visual

A diagrammatic representation showing the cross modality mapping, then, of the entire sentences involved would look like the following:  

 I see what you are saying

  visual  auditory
  (I see)   what you are saying

  I feel that what you aresaying is unclear

  kinesthetic  auditory         visual
  (I feel)     (what you are saying)   (in unclear


Thus, what we were intuitively doing was generating examples of the set of well-formed American English sentences that reflected synesthesia linguistically as their defining characteristic.

These synesthesia patterns play a part in a number of places in NLP patterning. In particular, we are thinking of their use in the sub modalities work (e.g. the Swish pattern) and in metaphors where they serveas the patterning neurological base for these classes of patterning.

The second group of patterns
the mini-presentations of the participants at the initial meeting of the new group is actually significantly simpler than the synesthesia patterns.They are examples of the use by the speakers of predicates that are specified with respect tot he underlying representation system activated and operating asthe base for the person speaking. The examples previously offered were, 

Well, good evening. Myname is Linda andI feel excited about being here with all of you. I'mkinda tingly and a little nervous. My hopeis to really get in touch with myselfand...

: all of the underlined predicates are solidly kinesthetically (feeling) based and indicate that at the moment, the speaker isusing their kinesthetic representational system (feelings) as the base from which they are unconsciously selecting their specific words to communicate. 

Wow! I'm looking around the groupand I see a lot of shiningfaces. I'm George. The picture I'mgetting is real focused. What Iwant to take a look at is my relationships with my girl friendand how I can help make our futureeven brighter.

Analysis: the underlined predicates in this presentation are clearly visually based.

I'm Paul. I've heard a lot of groovy stuffabout these two guys here,Richard and John. Sounds to me like we gonna have a reallycooltimetogether. I was saying to myself that maybe here is the placein other words

, here is the settinghere I can really tune intowhat's happening insideof me.

: The underlined predicates are resonantly auditorily based.


The selection of predicates under normal circumstances isan unconscious actthis makesit particularly valuable to the trained listener as the speakers are therebyrevealing what their present ongoing underlying activated mode of thought and processing is, typically without any awareness that they are offering such information. It is relatively simple to develop significant states of rapport by the simple strategy of tracking (that is, following the lead of) the representation system preferred by the person you are attempting to achieve rapport withas they shift from one representational system to another, you simply adjust your communication to remain in synch.


Needless to say, such a formal manipulation facilitates the effective and efficient transfer of information as both parties are presenting their material in the same representational system.
('Whispering in the Wind' p168-170)



Whispering In The Wind
John Grinder
Carmen Bostic St. Clair
John Grinder & Carmen Bostic Enterprises