
Èà¤Ï¡¢³Ø½¬¼Ô¤ò¾õ¶·¤Ë¤ª¤¤¤Æ¡¢¥×¥ì¡¼¤µ¤»¤Þ¤·¤¿¡£Ãí°Õ¿¼¤¯´Ñ»¡¤·¤Ê¤¬¤é¡¢¥²¡¼¥àÉʼÁ¤ÎÎô²½¤¬¸¡½Ð¤µ¤ì¤ë¤Þ¤Ç¡¢¥×¥ì¡¼¤ò³¤±¤µ¤»¤Þ¤·¤¿¡£¥×¥ì¡¼¤ÎÉʼÁ¤ÎÎô²½¤¬¸¡½Ð¤µ¤ì¤¿¤½¤Î»þÅÀ¤Ç¡¢Èà¤Ï¡¢¥×¥ì¡¼¥ä¡¼¤ËʪÍýŪ¤ËÃæÃǤµ¤»¤Æ¡¢¡Öº£²¿¤ò¤·¤è¤¦¤È¤·¤Æ¤¤¤Þ¤¹¤«¡©¡×¤Èʹ¤¡¢¡Ö»ä¤Ï£Ø¤ò¤·¤è¤¦¤È¤·¤Æ¤¤¤Þ¤¹¡×¤È¤¤¤¦Åú¤¨¤òµá¤á¤Þ¤·¤¿¡£¤³¤Î¾ì¹ç¡¢¡Ö£Ø¡×¤Ë¤Ï¡¢¡Ö¥Ü¡¼¥ë¤òÂǤĤȤ¥é¥±¥Ã¥È¤¬´°Á´¤Ë¿âľ¤Ë¤Ê¤Ã¤Æ¤¤¤ë¤è¤¦¤Ë¤¹¤ë¡×¡¢¡Ö¤οƻؤÎÉÕ¤±º¬¤ËÁ´ÂνŤò¾è¤»¤ë¡×¤È¤¤¤Ã¤¿É½¸½¤¬Æþ¤ê¤Þ¤¹¡£¥¬¥ë¥¦¥§¥¤¤ÎÊÖÅú¤Ï¡¢¡Ö¤ï¤«¤ê¤Þ¤·¤¿¡££Ø¤ò¤·¤è¤¦¤È¤¹¤ë¤Î¤ò»ß¤á¤Æ¡¢Ã±¤Ë¥Æ¥Ë¥¹¤ò¥×¥ì¡¼¤·¤Æ¤¯¤À¤µ¤¤¡×¤È¤¤¤¦¤â¤Î¤Ç¤·¤¿¡£¥¬¥ë¥¦¥§¥¤¤Ï¡¢¡Ö¤·¤è¤¦¤È¤¹¤ë¡×¤È¤¤¤¦¤Î¤Ï¡¢¶ÚÆù¤Î¶ÛÄ¥¤¬¹â¤Þ¤ê¡¢ÆâŪÂÐÏä¬Áý²Ã¤·¤¿¾õÂÖ¤òÆÃÄꤹ¤ë¥é¥Ù¥ë¤Ç¤¢¤ë¤³¤È¤òÀµ¤·¤¯Ç§¼±¤·¤Æ¤¤¤Þ¤·¤¿¡£¶ÚÆù¶ÛÄ¥¤ÈÆâŪÂÐÏäϡ¢¥Ñ¥Õ¥©¡¼¥Þ¥ó¥¹Äã²¼¤òÊݾڤ¹¤ëÆóÍ×°ø¤Ç¤¹¡£ÅØÎϤò»ß¤á¤ë¤è¤¦¤Ë¤È¤¤¤¦´Êñ¤Ê»Ø¼¨¤Ë¤è¤Ã¤Æ¡¢¥×¥ì¡¼¥ä¡¼¤Ï¡Ö¤·¤è¤¦¤È¤¹¤ë¡×¼ºÇԥ⡼¥É¤«¤é²òÊü¤µ¤ì¡¢¤Þ¤¿¡¢¡ÊÆâŪÂÐÏ䬤ʤ¯¤Ê¤ë¤³¤È¤Ç¡Ë°ì¼¡ÅªÃí°Õ¤¬°ìÁݤµ¤ì¤Þ¤¹¡£ÆâŪÂÐÏÃ¤È¶ÚÆù¶ÛÄ¥¤È¤¤¤¦°ìÂÐ¤ÎÆÈºÛ¼Ô¤«¤é²òÊü¤µ¤ì¤Æ¡¢Â¿¤¯¤Î¥×¥ì¡¼¥ä¡¼¤Ï¡¢¤½¤Î¥²¡¼¥à¤¬ÈôÌöŪ¤Ë²þÁ±¤¹¤ë¤³¤È¤òȯ¸«¤·¤Þ¤¹¡£¤·¤«¤·¡¢¡Ö¤·¤è¤¦¤È¤¹¤ë¤Î¤ò»ß¤á¤ë¤è¤¦¤Ë¡×¤È¤¤¤¦»Ø¼¨¤¬¤¢¤Þ¤ê¤Ë¤â¸ú²Ì¤Î¤Ê¤¤¥×¥ì¡¼¥ä¡¼¤â¤¤¤Þ¤¹¡£¤³¤Î¤¿¤á¡¢¥¬¥ë¥¦¥§¥¤¡¦¥Õ¥©¡¼¥Þ¥Ã¥È¤Ë´ÞÃßŪ¤Ëµ¬Äꤵ¤ì¤Æ¤¤¤ë³¬ÁØ¤ÎÆóÈÖÌܤβðÆþ¤¬É¬ÍפˤʤäƤ¤¤Þ¤¹¡£¥¬¥ë¥¦¥§¥¤¤¬¤¢¤ë¿Í¤Î¥°¥é¥¦¥ó¥É¡¦¥¹¥È¥í¡¼¥¯¡Ê¥Ù¡¼¥¹¥é¥¤¥ó¤«¤é¤Î¥Õ¥©¥¢¥Ï¥ó¥É¤È¥Ð¥Ã¥¯¥Ï¥ó¥É¡Ë¤Ë¼è¤êÁȤó¤Ç¤¤¤ë¤È¤¹¤ë¤È¡¢Èà¤ÎÆóÈÖÌܤβðÆþ¤Ï¡¢¥×¥ì¡¼¥ä¡¼¤È¥³¡¼¥Á¤È¤·¤Æ¤ÎÈ༫¿È¤Îξ¼Ô¤¬ÃγФǤ¡¢¥°¥é¥¦¥ó¥É¡¢¥¹¥È¥í¡¼¥¯¤òÀ®¸ù¤µ¤»¤ë¤¿¤á¤Ë½ÅÍפˤʤë¤è¤¦¤Ê³°³¦¤ÎÆó¤Ä¤Î»²¾ÈÅÀ¤ò¥Ô¥Ã¥¯¥¢¥Ã¥×¤¹¤ë¤³¤È¤Ç¤¹¡£¤³¤ì¤Ï¡¢¡Ö¥Ð¥¦¥ó¥¹¡¿¥Ò¥Ã¥È¡×ÃγХե£¥ë¥¿¡¼¤Î¸¶ÅÀ¤Ç¤¹¡£Èà¤Ï¡¢¥Æ¥Ë¥¹¡¦¥Ü¡¼¥ë¤¬¶á¤Å¤¤¤Æ¤¤Æ¥Ð¥¦¥ó¥¹¤¹¤ë¤Î¤ò¸«¤¿¤È¤¤Ë¥×¥ì¡¼¥ä¡¼¤Ë¡Ö¥Ð¥¦¥ó¥¹¡×¤È¸À¤ï¤»¡¢¥é¥±¥Ã¥ÈÌ̤ȥƥ˥¹¡¦¥Ü¡¼¥ë¤¬ÀÜ¿¨¤¹¤ë½Ö´Ö¤Ë¡Ö¥Ò¥Ã¥È¡×¤È¸À¤ï¤»¤Þ¤¹¡£¥¬¥ë¥¦¥§¥¤¤¬Êó¹ð¤·¤Æ¤¤¤ë¤è¤¦¤Ë¡¢¥×¥ì¡¼¥ä¡¼¤ÎÆó¤Ä¤Î»²¾ÈÅÀ¤Ë¤Ä¤¤¤Æ¤ÎÊó¹ð¤ÈÈà¤Î¸Ä¿ÍŪ¤ÊÃγФ¬°ìÃפ·¤Ê¤¤¤³¤È¤¬ÅÙ¡¹µ¯¤³¤ê¤Þ¤¹¡£¤¹¤Ê¤ï¤Á¡¢¥×¥ì¡¼¥ä¡¼¤Ï¡¢¤·¤Ð¤·¤Ð¡¢¡Ê¥¬¥ë¥¦¥§¥¤¤¬´Ñ»¡¤·¤¿¤è¤¦¤Ë¡Ë¼ÂºÝ¤Î¸½¼ÂÀ¤³¦¤Î½ÐÍè»ö¤ÈƱ´ü¤¬¼è¤ì¤Æ¤¤¤Þ¤»¤ó¡£¥×¥ì¡¼¥ä¡¼¤Î¥²¡¼¥à¤Î¼Á¤Ïɬ¤º²þÁ±¤·¤Þ¤¹¡£NLPµ»½Ñ¤Î¥È¥ì¡¼¥Ë¥ó¥°¤ò¼õ¤±¤¿¤³¤È¤Î¤¢¤ë¿Í¡¹¤Ï¡¢´Ö°ã¤¤¤Ê¤¯¡¢¥¬¥ë¥¦¥§¥¤¤Î¤³¤Î²ðÆþ¤¬¤É¤ì¤À¤±¹ªÌ¯¤«¤Ëµ¤¤Å¤«¤ì¤¿¤³¤È¤Ç¤·¤ç¤¦¡£¤¿¤Ã¤¿°ì¤Ä¤Î¼ê½ç¤Ç¡¢Èà¤Ï¡¢ÆâŪÂÐÏäòÃæÃǤµ¤»¡ÊݳÐŪ·ÐÏ©¤Ï¡¢¡Ö¥Ð¥¦¥ó¥¹¡×¤È¡Ö¥Ò¥Ã¥È¡×¤ÈÀ¼¤Ë½Ð¤·¤Æ¸À¤¦¤³¤È¤ËÀìǰ¤·¤Æ¤¤¤Þ¤¹¡Ë¡¢¥×¥ì¡¼¥ä¡¼¤òʬΥ¤·¤¿Ãí°Õ¾õÂÖ¡ÊÆâŪÂÐÏäȳ°Â¦¤Î½ÐÍè»ö¤Î´Ö¤Ëʬ»¶¤·¤¿¾ÇÅÀ¡Ë¤«¤é¡Ê¥Ü¡¼¥ë¤Îư¤¤À¤±¤Ë½¸Ã椷¤¿¡ËĴϤ·¤¿Ã±°ì¾ÇÅÀ¤ËͶƳ¤·¡¢°ì»þŪ±ý°Õ¤ÈÆó¼¡ÅªÃí°Õ¤Î´Ö¤ÎËÜÍ褢¤ë¤Ù¤Å¬Àڤʵ¡Ç½Ê¬³ä¤ò³ÎÊݤ¹¤ë¤³¤È¤ËÀ®¸ù¤·¤Æ¤¤¤Þ¤¹¡£¡Ö¥È¥Ê¡¼¥ë¡×¤¬»²¾ÈÅÀ¤òª¤¨¡¢¥ê¥¢¥ë¥¿¥¤¥à¤Ç»²¾ÈÅÀ¤ÎÌÜÏ¿¼è¤ê¤ò¤·¤¿¸å¡¢¥ê¥é¥Ã¥¯¥¹¤·¤Æ¡¢Å¬Àڤʥ°¥é¥¦¥ó¥É¡¦¥¹¥È¥í¡¼¥¯¤ËɬÍפʥѥ¡¢¥¿¥¤¥ß¥ó¥°¡¢Í¥²í¤µ¤¬½àÈ÷¤µ¤ì¤Æ¤¤¤ÆÂÔµ¡¤·¤Æ¤¤¤ë¡Ö¥Ê¥ï¡¼¥ë¡×¤Ë²òÊü¤µ¤ì¤Þ¤¹¡£¤·¤«¤·¡¢»ä¤¿¤Á¤ÎÌÜ۾塢¤³¤³¤Ç¤Î½ÅÍ×ÅÀ¤Ï¡¢¡Ö¥Ð¥¦¥ó¥¹¡¿¥Ò¥Ã¥È¡×¥Õ¥©¡¼¥Þ¥Ã¥È¤Ç¤¹¡£¤³¤ì¤Ï¡¢ÃγХե£¥ëͼ¡¼¹½ÃۤΤ¿¤á¤Î¸¶·¿¤Ç¤¹¡£
¡Ê¥¸¥ç¥ó¡¦¥°¥ê¥ó¥À¡¼Çî»Î¡õ¥¸¥å¥Ç¥£¥¹¡¦¥Ç¥£¥í¡¼¥¸¥ã½÷»Ë¡¢¶¦Æ±¥ï¡¼¥¯¥·¥ç¥Ã¥×¡Ö¥Ë¥å¡¼¥³¡¼¥ÉNLP¤Î¸¶ÅÀ¡Ý¸Ä¿ÍŪ¤ÊÅ·ºÍ¤Ë¤Ê¤ë¤¿¤á¤ÎɬÍ×¾ò·ï¡×p.513-514¤è¤ê¡Ë
John: Interesting ambiguity. And this is part of the arc of what we're doing. I don'tknow the answer to that question in a deep epistemological way but I know the experience directly and that's the point of what we're doing this morning.
Timothy Gallway has put together a marvelously effective and simple procedure for developing perceptual filters¡Ýspecifically designed to optimize certain perceptual motor skills. He has successfully used this procedure in thesports of skiing, golf and tennis. It's part of what I call the Gallway format. Any of you who have had difficulty in translating NLP patterns such as physiological states of excellence, use of personal history resources in tasks,¡Ä into Englishand very specific application areas, read Gallway. Excellent work¡Ýeffective and simple¡Ýnot easy, mind you, but simple. Appreciate Gallway's content¡Ýhe is out to optimize someone's tennisgame. (The Inner Game of Tennis.) He places the learner in context and has them perform. Observing closely he allows the player to continue until he detects adecrease in the quality of their game¡Ýprecisely at this point he interrupts them, physically and with the question, "What are you trying to do?" Answer¡Ý"I'm trying to X." Where X could be making sure the racket is completely vertical when impacting the ball or moving the weight entirely onto the ball of the foot. Response by Mr. Gallway¡Ý¡ÈOk, quit trying to X and simple play tennis.¡ÈGallway has correctly noted that"trying" is a label which identifies a state of heightened muscular tension and increased internal dialogue¡Ýtwo factors which guarantee adecrease in performance. The simple instruction to quit trying releases the player from the failure mode of "trying," clears first attention (removing informal dialogue¡Ä) freed of the twin despots of internal dialogue and muscular tension, many players find their game vastly improved. However, for some players, the instruction to "quit trying" is not entirely effective¡Ýthus the need for the second intervention in the hierarchy implicitly specified by the Gallway format. Suppose Gallway is working on someone's ground strokes (forehands and backhands from the baseline). His second intervention would be to pick a couple of reference points in the external world perceptually available both to the player and tohim as coach, and which are important in the successful execution of the ground strokes. This is the origin of the "bounce-hit" perceptual filter. Hehas the player say "bounce" when he or she sees the tennis ball bounce as it, approaches and "hit" at the instant when the racket's strings and the tennis ball make contact. As Gallway reports, it is often thecase that the player's report of these two reference points and his personal perception do not match. That is, the player will frequently be out of synch with the actual real world event (as witnessed by Gallway). Bringing the player's perceptions and report of the real world event into synch with his perception of those same reference points invariably im proves the quality ofthe player's game. Those of you trained in the NLP technology have, no doubt, noted how clever this intervention by Gallway is¡Ýwith asingle move he successfully interrupts the internal dialogue (the auditory channel is committed externally saying "bounce" and"hit."); re-directs the player from a split attention state (mixedfocus between internal dialogue and external events) to a single coordinated focus (on the movement of the ball); and arranges a respectful and appropriate division of labor between 1st and 2nd attention¡Ýthe tonal seizes the reference point, inventorying it in real time and then relaxes, releasing to the naqual where the strength, timing and grace necessary for a proper ground stroke are ready and waiting. The important issue here, however, for our purposes is the bounce-hitformat¡Ýit¡Çs a prototype for the construction of perceptual filters.
¥¸¥å¥Ç¥£¥¹¡¦¥Ç¥£¥í¡¼¥¸¥ã
Judith DeLozier
NLP¶¦Æ±Áϻϼԥ¸¥ç¥ó¡¦¥°¥ê¥ó¥À¡¼Çî»ÎǧÄê¹»
¥Ë¥å¡¼¥³¡¼¥ÉNLP¥¹¥¯¡¼¥ë
µ»ö¹¹¿·Æü¡§2020/06/26