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The predicates specified for representational systems

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The predicates specified for representational systems

1. What is ¡ÈVAK Predicates¡É?

In the context of NLP, predicates are understood as linguistic expressions that denote visual, auditory, and kinesthetic experiences. They describe actions, states, and quality of the subject. Though the word ¡Èpredicates¡É is often synonymous with ¡Èverbs,¡É in NLP it can also apply to adjectives, adverbs and nouns. Some predicates are closely related to the representational systems (visual, auditory or kinesthetic). The predicates which are linked to these senses are specifically referred to as ¡ÈVAK Predicates.¡É (¡ÈV¡É stands for ¡Èvisual,¡É ¡ÈA¡É for ¡Èauditory,¡É and ¡ÈK¡É for ¡Èkinesthetic¡É).



2.
Examples of ¡ÈVAK Predicates¡É

¡ýVisual

Vision 
View 
Viewpoint 
Visible 

Look 
Watch 
Scan
Show
Stare 
Gaza 
Focus 

Glare 

Film 
Cloudiness 

Obscure 
Opacity¡¡
Dim 
Hazy 
Picture 
Envision 

Illuminate 
Illustrate 
Glimpse 
Perspective 
Survey 
see at a glance 

¡ýAuditory

Voice 
Listen 
Hear 
Talk 
Told 
Call 
Chatter 
Silence 
Loud 
Noisy 
Cry 

Shout 
Moan 
Groan 
whine 
Hiss 

Dissonance 
Resound 
Resounding 
Amplify 
Acoustics¡¡
Cadence¡¡
sounds like¡¡
Lend an ear 

¡ýKinesthetic
Feel 
Warm 
Touch 
Handle
Grasp 
Grope 
Soft 
Relaxed 
Tight
Firm 
Smooth 

Rough 
Pressure 
Tense 
Hurt 
Concrete 
Cutting 
Roughly 
Clumsy 
Stir 
Swell 
Tremble 
Shiver 
Shake 
Penetrate 
be agitated  



3. Examples of ¡Èunspecified predicates¡É
Think 
Consider 
Know 
Learn 
Change 
Believe 
Trusting 
Remember 
Understand 
Intuit 
Respect 
Nice 



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1. VAK½ö½Ò¸ì¤È¤Ï²¿¤«¡©
NLP¤Ë¤ª¤±¤ë½ö½Ò¸ì¡Êpredicate¡Ë¤È¤Ï¡¢»ë³Ð¡¦Ä°³Ð¡¦Âδ¶³Ð¡Ê¿¨³Ð¡Ë¤ò¤Ä¤¦¤¸¤Æ·Ð¸³¤µ¤ì¤ë¤³¤È¤¬¤é¤Ë¤Ä¤¤¤Æ¸ì¤ë¤µ¤¤¤ËÍѤ¤¤é¤ì¤ë¤³¤È¤Ð¤ò»Ø¤·¤Þ¤¹¡£¼ç¸ì¤ÎÆ°ºî¡¦¾õÂÖ¡¦À­¼Á¤Ê¤É¤ò½ö½Ò¤¹¤ë¤â¤Î¤Ç¡¢°ìÈÌŪ¤Ë¤ÏÆ°»ì¤ò»Ø¤¹³µÇ°¤Ç¤¹¤¬¡¢NLP¤Ç¤Ï·ÁÍƻ졦Éû»ì¡¦Ì¾»ìɽ¸½¤Ê¤É¡¢Æ°»ì°Ê³°¤Î¸À¸ìɽ¸½¤â predicate ¤Ë´Þ¤ß¤Þ¤¹¡£¤³¤ì¤é¤Î½ö½Ò¸ì¤Ï¡¢¥ê¥×¥ì¥¼¥ó¥Æ¡¼¥·¥ç¥Ê¥ë¥·¥¹¥Æ¥à¡Ê»ë³Ð¡¢Ä°³Ð¡¢Âδ¶³Ð¡Ë¤Î¤É¤ì¤«£±¤Ä¤ÈÌ©Àܤ˴ط¸¤·¤Æ¤¤¤ë¾ì¹ç¤¬¤¢¤ê¡¢¤½¤ì¤¾¤ì¤Î´¶³Ð¤È·ë¤Ó¤Ä¤¤¤¿¤³¤È¤Ð¤òNLP¤Ç¤ÏÆäËVAK½ö½Ò¸ì¡ÊVAK Predicate¡Ë¤È¸Æ¤ó¤Ç¤¤¤Þ¤¹¡£V¤ÏVisual¡Ê»ë³Ð¡Ë¤Î¡¢A¤ÏAuditory¡ÊÄ°³Ð¡Ë¤Î¡¢K¤ÏKinesthetic¡ÊÂδ¶³Ð¡Ë¤Î¡¢¤½¤ì¤¾¤ìƬʸ»ú¤Ç¤¹¡£



2. VAK½ö½Ò¸ì¤ÎÎã

¡ýVisual: »ë³Ð¤Ë¤«¤«¤ï¤ë½ö½Ò¸ì
Vision »ë³Ð
View ·Ê¿§
Viewpoint »ëÅÀ
Visible Ìܤ˸«¤¨¤ë

Look ¸«¤ë¡¢¡Á¤Î¤è¤¦¤Ë¸«¤¨¤ë
Watch Ãí°Õ¤·¤Æ¸«¤ë
Scan ¤¸¤Ã¤È¸«¤ë¡¢¤¶¤Ã¤È¸«¤ë
Show ¸«¤»¤ë
Stare ¤¸¤Ã¤È¸«¤Ä¤á¤ë
Gaza ¤¸¤Ã¤È¸«¤Ä¤á¤ë
Focus ¾ÇÅÀ¤ò¹ç¤ï¤»¤ë

Glare ¤Þ¤Ö¤·¤¤¸÷

Film ¤«¤¹¤à¡¢¤â¤ä
Cloudiness ¤¯¤â¤ê¡¢ÉÔÆ©ÌÀ

Obscure ¤Ü¤ó¤ä¤ê¤·¤¿
Opacity¡¡ÉÔÆ©ÌÀ
Dim ¤¦¤¹°Å¤¤
Hazy ¤«¤¹¤ó¤À
Picture ¿´¤ËÉÁ¤¯¡¢³¨
Envision ¿´¤ËÉÁ¤¯

Illuminate ¾È¤é¤¹
Illustrate ÀâÌÀ¤¹¤ë
Glimpse ¤Á¤é¤ê¤È¸«¤¨¤ë
Perspective ´ÑÅÀ¡¢±ó¶áË¡
Survey ¤¶¤Ã¤È¸«ÅϤ¹
see at a glance ¤Ò¤ÈÌܸ«¤ë

¡ýAuditory: Ä°³Ð¤Ë¤«¤«¤ï¤ë½ö½Ò¸ì
Voice À¼
Listen ʹ¤¯
Hear ʹ¤³¤¨¤ë
Talk Ïä¹
Told ÅÁ¤¨¤é¤ì¤¿
Call ¸Æ¤Ö
Chatter ¤ª¤·¤ã¤Ù¤ê¤¹¤ë
Silence ÄÀÌÛ
Loud ²»¤¬Â礭¤¤
Noisy ¤ä¤«¤Þ¤·¤¤
Cry µã¤¯

Shout ¶«¤Ö
Moan ¤¦¤á¤¯
Groan ¤¦¤Ê¤ë
Whine ¤¹¤¹¤êµã¤¯
Hiss 
¥·¥Ã¤È¸À¤¦¡¢¥·¥å¥Ã¤È²»¤ò½Ð¤¹
Dissonance ÉÔ¶¨Ï²»
Resound È¿¶Á¤¹¤ë
Resounding ÌĤê¶Á¤¯
Amplify ²»¤òÁýÂ礹¤ë
Acoustics ²»¶Á¸ú²Ì
Cadence Çï»Ò¡¢¥ê¥º¥à¡¢ÍÞÍÈ
sounds like ¡Á¤Î¤è¤¦¤Ëʹ¤³¤¨¤ë
Lend an ear ¼ª¤òÂߤ¹


¡ýKinesthetic: Âδ¶³Ð¤Ë¤«¤«¤ï¤ë½ö½Ò¸ì
Feel ´¶¤¸¤ë
Warm ¤¢¤¿¤¿¤«¤¤
Touch ¿¨¤ì¤ë
Handle ¼ê¤ò¿¶¤ì¤ë¡¢¼è¤Ã¼ê
Grasp ¤Ä¤«¤à
Grope ¼êõ¤ê¤Ç¤µ¤¬¤¹
Soft ½À¤é¤«¤¤
Relaxed ¤¯¤Ä¤í¤¤¤À
Tight ¤­¤Ä¤¤
Firm ¤«¤¿¤¤
Smooth ¤Ê¤á¤é¤«¤Ê

Rough ¤¶¤é¤¶¤é¤·¤¿
Pressure °µÎÏ
Tense Ä¥¤ê¤Ä¤á¤¿
Hurt ½ý¤Ä¤±¤ë
Concrete ¸ÇÂΤΡ¢¶ñÂÎŪ¤Ê
Cutting ¤¹¤ë¤É¤¤
Roughly Íð˽¤Ë¡¢¤¶¤Ã¤È
Clumsy ¤®¤³¤Á¤Ê¤¤
Stir ¤æ¤¹¤ë¡¢¤«¤­²ó¤¹
Swell ¤Õ¤¯¤ì¤ë
Tremble ¤Õ¤ë¤¨¤ë
Shiver ¤Õ¤ë¤¨¤ë
Shake ¤Õ¤ë¡¢ÍɤêÆ°¤«¤¹
Penetrate ¤Ä¤é¤Ì¤¯
be agitated Æ°Íɤ·¤¿


3.
VAK½ö½Ò¸ì°Ê³°¤Î¸ÀÍÕ

Think ¹Í¤¨¤ë
Consider ¹Í¤¨¤ë
Know ÃΤäƤ¤¤ë
Learn ³Ø¤Ö
Change ÊѤ¨¤ë
Believe ¿®¤¸¤ë
Trusting ¿®¤¸¤Æ¤¤¤ë¡¢µ¿¤ï¤Ê¤¤
Remember ³Ð¤¨¤Æ¤¤¤ë¡¢»×¤¤½Ð¤¹
Understand Íý²ò¤¹¤ë
Intuit ľ´¶¤¹¤ë
Respect ·É¤¦
Nice ÁÇŨ¤Ê



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1. VAK½ö½Ò¸ì¤È¤Ï²¿¤«¡©
NLP¤Ë¤ª¤±¤ë½ö½Ò¸ì¡Êpredicate¡Ë¤È¤Ï¡¢»ë³Ð¡¦Ä°³Ð¡¦Âδ¶³Ð¡Ê¿¨³Ð¡Ë¤ò¤Ä¤¦¤¸¤Æ·Ð¸³¤µ¤ì¤ë¤³¤È¤¬¤é¤Ë¤Ä¤¤¤Æ¸ì¤ë¤µ¤¤¤ËÍѤ¤¤é¤ì¤ë¤³¤È¤Ð¤ò»Ø¤·¤Þ¤¹¡£¼ç¸ì¤ÎÆ°ºî¡¦¾õÂÖ¡¦À­¼Á¤Ê¤É¤ò½ö½Ò¤¹¤ë¤â¤Î¤Ç¡¢°ìÈÌŪ¤Ë¤ÏÆ°»ì¤ò»Ø¤¹³µÇ°¤Ç¤¹¤¬¡¢NLP¤Ç¤Ï·ÁÍƻ졦Éû»ì¡¦Ì¾»ìɽ¸½¤Ê¤É¡¢Æ°»ì°Ê³°¤Î¸À¸ìɽ¸½¤â predicate ¤Ë´Þ¤ß¤Þ¤¹¡£¤³¤ì¤é¤Î½ö½Ò¸ì¤Ï¡¢¥ê¥×¥ì¥¼¥ó¥Æ¡¼¥·¥ç¥Ê¥ë¥·¥¹¥Æ¥à¡Ê»ë³Ð¡¢Ä°³Ð¡¢Âδ¶³Ð¡Ë¤Î¤É¤ì¤«£±¤Ä¤ÈÌ©Àܤ˴ط¸¤·¤Æ¤¤¤ë¾ì¹ç¤¬¤¢¤ê¡¢¤½¤ì¤¾¤ì¤Î´¶³Ð¤È·ë¤Ó¤Ä¤¤¤¿¤³¤È¤Ð¤òNLP¤Ç¤ÏÆäËVAK½ö½Ò¸ì¡ÊVAK Predicate¡Ë¤È¸Æ¤ó¤Ç¤¤¤Þ¤¹¡£V¤ÏVisual¡Ê»ë³Ð¡Ë¤Î¡¢A¤ÏAuditory¡ÊÄ°³Ð¡Ë¤Î¡¢K¤ÏKinesthetic¡ÊÂδ¶³Ð¡Ë¤Î¡¢¤½¤ì¤¾¤ìƬʸ»ú¤Ç¤¹¡£



2. VAK½ö½Ò¸ì¤ÎÎã

¡ýVisual: »ë³Ð¤Ë¤«¤«¤ï¤ë½ö½Ò¸ì
Vision »ë³Ð
View ·Ê¿§
Viewpoint »ëÅÀ
Visible Ìܤ˸«¤¨¤ë

Look ¸«¤ë¡¢¡Á¤Î¤è¤¦¤Ë¸«¤¨¤ë
Watch Ãí°Õ¤·¤Æ¸«¤ë
Scan ¤¸¤Ã¤È¸«¤ë¡¢¤¶¤Ã¤È¸«¤ë
Show ¸«¤»¤ë
Stare ¤¸¤Ã¤È¸«¤Ä¤á¤ë
Gaza ¤¸¤Ã¤È¸«¤Ä¤á¤ë
Focus ¾ÇÅÀ¤ò¹ç¤ï¤»¤ë

Glare ¤Þ¤Ö¤·¤¤¸÷

Film ¤«¤¹¤à¡¢¤â¤ä
Cloudiness ¤¯¤â¤ê¡¢ÉÔÆ©ÌÀ

Obscure ¤Ü¤ó¤ä¤ê¤·¤¿
Opacity¡¡ÉÔÆ©ÌÀ
Dim ¤¦¤¹°Å¤¤
Hazy ¤«¤¹¤ó¤À
Picture ¿´¤ËÉÁ¤¯¡¢³¨
Envision ¿´¤ËÉÁ¤¯

Illuminate ¾È¤é¤¹
Illustrate ÀâÌÀ¤¹¤ë
Glimpse ¤Á¤é¤ê¤È¸«¤¨¤ë
Perspective ´ÑÅÀ¡¢±ó¶áË¡
Survey ¤¶¤Ã¤È¸«ÅϤ¹
see at a glance ¤Ò¤ÈÌܸ«¤ë

¡ýAuditory: Ä°³Ð¤Ë¤«¤«¤ï¤ë½ö½Ò¸ì
Voice À¼
Listen ʹ¤¯
Hear ʹ¤³¤¨¤ë
Talk Ïä¹
Told ÅÁ¤¨¤é¤ì¤¿
Call ¸Æ¤Ö
Chatter ¤ª¤·¤ã¤Ù¤ê¤¹¤ë
Silence ÄÀÌÛ
Loud ²»¤¬Â礭¤¤
Noisy ¤ä¤«¤Þ¤·¤¤
Cry µã¤¯

Shout ¶«¤Ö
Moan ¤¦¤á¤¯
Groan ¤¦¤Ê¤ë
Whine ¤¹¤¹¤êµã¤¯
Hiss 
¥·¥Ã¤È¸À¤¦¡¢¥·¥å¥Ã¤È²»¤ò½Ð¤¹
Dissonance ÉÔ¶¨Ï²»
Resound È¿¶Á¤¹¤ë
Resounding ÌĤê¶Á¤¯
Amplify ²»¤òÁýÂ礹¤ë
Acoustics ²»¶Á¸ú²Ì
Cadence Çï»Ò¡¢¥ê¥º¥à¡¢ÍÞÍÈ
sounds like ¡Á¤Î¤è¤¦¤Ëʹ¤³¤¨¤ë
Lend an ear ¼ª¤òÂߤ¹


¡ýKinesthetic: Âδ¶³Ð¤Ë¤«¤«¤ï¤ë½ö½Ò¸ì
Feel ´¶¤¸¤ë
Warm ¤¢¤¿¤¿¤«¤¤
Touch ¿¨¤ì¤ë
Handle ¼ê¤ò¿¶¤ì¤ë¡¢¼è¤Ã¼ê
Grasp ¤Ä¤«¤à
Grope ¼êõ¤ê¤Ç¤µ¤¬¤¹
Soft ½À¤é¤«¤¤
Relaxed ¤¯¤Ä¤í¤¤¤À
Tight ¤­¤Ä¤¤
Firm ¤«¤¿¤¤
Smooth ¤Ê¤á¤é¤«¤Ê

Rough ¤¶¤é¤¶¤é¤·¤¿
Pressure °µÎÏ
Tense Ä¥¤ê¤Ä¤á¤¿
Hurt ½ý¤Ä¤±¤ë
Concrete ¸ÇÂΤΡ¢¶ñÂÎŪ¤Ê
Cutting ¤¹¤ë¤É¤¤
Roughly Íð˽¤Ë¡¢¤¶¤Ã¤È
Clumsy ¤®¤³¤Á¤Ê¤¤
Stir ¤æ¤¹¤ë¡¢¤«¤­²ó¤¹
Swell ¤Õ¤¯¤ì¤ë
Tremble ¤Õ¤ë¤¨¤ë
Shiver ¤Õ¤ë¤¨¤ë
Shake ¤Õ¤ë¡¢ÍɤêÆ°¤«¤¹
Penetrate ¤Ä¤é¤Ì¤¯
be agitated Æ°Íɤ·¤¿


3.
VAK½ö½Ò¸ì°Ê³°¤Î¸ÀÍÕ

Think ¹Í¤¨¤ë
Consider ¹Í¤¨¤ë
Know ÃΤäƤ¤¤ë
Learn ³Ø¤Ö
Change ÊѤ¨¤ë
Believe ¿®¤¸¤ë
Trusting ¿®¤¸¤Æ¤¤¤ë¡¢µ¿¤ï¤Ê¤¤
Remember ³Ð¤¨¤Æ¤¤¤ë¡¢»×¤¤½Ð¤¹
Understand Íý²ò¤¹¤ë
Intuit ľ´¶¤¹¤ë
Respect ·É¤¦
Nice ÁÇŨ¤Ê



perform cold water ablutions by a fall
Âì¹Ô

 


The predicates specified for representational systems

 

1. What is ¡ÈVAK Predicates¡É?

In the context of NLP, predicates are understood as linguistic expressions that denote visual, auditory, and kinesthetic experiences. They describe actions, states, and quality of the subject. Though the word ¡Èpredicates¡É is often synonymous with ¡Èverbs,¡É in NLP it can also apply to adjectives, adverbs and nouns. Some predicates are closely related to the representational systems (visual, auditory or kinesthetic). The predicates which are linked to these senses are specifically referred to as ¡ÈVAK Predicates.¡É (¡ÈV¡É stands for ¡Èvisual,¡É ¡ÈA¡É for ¡Èauditory,¡É and ¡ÈK¡É for ¡Èkinesthetic¡É).



2.
Examples of ¡ÈVAK Predicates¡É

¡ýVisual

Vision 
View 
Viewpoint 
Visible 

Look 
Watch 
Scan
Show
Stare 
Gaza 
Focus 

Glare 

Film 
Cloudiness 

Obscure 
Opacity¡¡
Dim 
Hazy 
Picture 
Envision 

Illuminate 
Illustrate 
Glimpse 
Perspective 
Survey 
see at a glance 

¡ýAuditory

Voice 
Listen 
Hear 
Talk 
Told 
Call 
Chatter 
Silence 
Loud 
Noisy 
Cry 

Shout 
Moan 
Groan 
whine 
Hiss 

Dissonance 
Resound 
Resounding 
Amplify 
Acoustics¡¡
Cadence¡¡
sounds like¡¡
Lend an ear 

¡ýKinesthetic
Feel 
Warm 
Touch 
Handle
Grasp 
Grope 
Soft 
Relaxed 
Tight
Firm 
Smooth 

Rough 
Pressure 
Tense 
Hurt 
Concrete 
Cutting 
Roughly 
Clumsy 
Stir 
Swell 
Tremble 
Shiver 
Shake 
Penetrate 
be agitated  



3. Examples of ¡Èunspecified predicates¡É
Think 
Consider 
Know 
Learn 
Change 
Believe 
Trusting 
Remember 
Understand 
Intuit 
Respect 
Nice 


perform cold water ablutions by a fall
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2010/10/03 The predicates specified for representational systems

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  1. FA¤Ç¤Î¥Ñ¥¿¡¼¥ó²½¤Î´°Á´¤Ç¼«Á³¤Ê³«È¯¤ò²Äǽ¤Ë¤¹¤ë¤¿¤á¤ËºÇ½é¤Ë¤¢¤Ê¤¿¤¬¤·¤Æ¤¤¤ë¡Ê¤Þ¤¿¤Ï¤ä¤í¤¦¤È¤·¤Æ¤¤¤ë¡Ë¤³¤È¤òÄêµÁ¤¹¤ë¤¿¤á¤Î¤É¤Î¤è¤¦¤Ê°Õ¼±Åª¤ÊÍ×µá¤âÃæÃǤ¹¤ëǽÎÏ

     

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  3. µ®Êý¤¬¼ÂºÝ¤Ï°Õ¼±Åª¤Ê¼ê¤¬¤«¤ê¤ò»ý¤Ã¤Æ¤¤¤Ê¤¤»þ¤Ë¡¢¤Þ¤ë¤Ç¤¢¤Ê¤¿¤¬°ìÂβ¿¤ò¤·¤Æ¤¤¤ë¤Î¤«¤òÃΤäƤ¤¤ë¤«¤Î¤è¤¦¤Ë¿¶¤ëÉñ¤¦Ç½ÎÏ

     

  4. Ä´ºº¤Î½é´üÃʳ¬¤Ë¤ª¤¤¤Æ¡¢¹â¤¤¥ì¥Ù¥ë¤ÎÉÔÌÀ³Î¤µ¤ÈÛ£Ë椵¡Ê·Ð¸³¤ÎÆó¤Ä¤ÎÆÈΩ¤·¤¿½¸¹ç¡Ë¤òµöÍƤ¹¤ëǽÎÏ

     

  5. µ®Êý¤¬¤½¤¦¤À¤í¤¦¤È»×¤Ã¤Æ¤¤¤ë¤³¤È¤Î·ë²Ì¤¬Ê¶¤ì¤â¤Ê¤¤ÊýË¡¤Ç¸½¤ì¤ëʸ̮¤òÁàºî¤¹¤ëǽÎÏ¡ÊÎ㡧ºÇ½é¤Î¥°¥ë¡¼¥×¤Î²ñ¹ç¤Ç¤Î¿§»æ¤È¡¢¤½¤Î·ë²Ì¤È¤·¤Æ¤Î¥°¥ë¡¼¥×¤Î¿Í¡¹¤Î¹ÔÆ°¤Î°ã¤¤¡Ë

     

  6. ȯ¸«¤Î¥×¥í¥»¥¹¡Ê´ãµå±¿Æ°¥Ñ¥¿¡¼¥ó¡Ë¤Î°ìÉô¤È¤·¤Æ¡¢ÄɲäÎÆ°ºî¤È¤½¤ì¤ò´ØÏ¢ÉÕ¤±¤ë¤³¤È¤òÍưפˤ¹¤ë¤¿¤á¤ËÃγФˤª¤±¤ë°ÂÄêÀ­¤Îºø³Ð¤òÀ¸¤¸¤µ¤»¤ë´ð½àÅÀ¡Ê¥ê¥×¥ì¥¼¥ó¥Æ¡¼¥·¥ç¥Ê¥ë¥·¥¹¥Æ¥à¤Î½Ò¸ì¡Ë¤Î¸ÇÄê

     

  7. ¥³¥é¥Ü¥ì¡¼¥·¥ç¥ó¤Î¿¼¤¤²ÁÃÍ¡Ý¥Á¡¼¥à¤Çºî¶È¤¹¤ë¤³¤È¤Ï´Ñ»¡¤Î¸òº¹Åª¸¡¾Ú¤ò²Äǽ¤Ë¤·¤Þ¤¹



Commentary on NLP's 2nd Model


This second example from early NLP practice contains a number of noteworthy features of interest tothe student of discovery processes :

 

1. the competency tosuspend any conscious requirement for definition of what you are doing (orattempting to do) initially to allow a full and natural development of the patterning at FA.

2. the ability to generate intuitively (or unconsciously, ifyou prefer) additional members of the set under investigation without arigorous representation of what precisely that set is.

3. the ability to act asif you know what the hell you are doing when, indeed, you have no conscious clue.

4. the ability to tolerate high levels of ambiguity and vagueness (two independent set of experiences) in the initial stages of investigation.

5. the ability to manipulate contexts in which the consequences of what you suspect is happening manifest themselves in ways that are unmistakable (e.g. the coloredpieces of paper at the initial group meeting and the resultant difference in behavior of the people in the group).

6. the fixing of a reference point (the representational system predicates) that creates the illusion of stability inperception to facilitate correlating additional behavior with it as part of the discovery process (the eye movements patterns).

7. the deep value of collaboration¡Ýworking in a team which allows cross verification of observations.

 

¡Ê'Whispering in the Wind' p.173¡Ë

John&Carmen















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





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¡Ê¡ÖÉ÷¤ÎÃæ¤Î¤µ¤µ¤ä¤­¡×p.170-172¡Ë


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The Narrative Continues

What ensued subsequent to our (Grinder and Bandler) initial analysis of what we had done at this group meeting is particularly interesting. For reasons now lost in the mists of memory, the next 5 or 6 days immediately succeeding the work in the group and the debriefing which followed hard upon it. Bandler and Grinder were separated physically. One or both of them were on a trip out of  town. When they met again, nearly a week had passed since the group work and debriefing. Their encounter is highly instructive. Once again, with all respect to the actual exchange, something close to the following happened:


¡¡Richard: Hey, what's happening! 


¡¡John: Hey, you know as well as I do! 


¡¡Richard: So, you've seen it! 


¡¡John: How could anyone miss it! 


The non-referring pronoun it in the above exchange, ofcourse, refers to what we now call eye movement patterns. The furious conversation that followed this some what enigmatic exchange revealed that each of the two men in the week that had passed since the work and debrief during which they had had no contact had had very similar perceptual experiences. More specifically, with the auditory filter for representational systems predicates cleanly in place, they had both been astonished by the regularity and obviousness of the associated eye movements
¡Ýitwas as they say, as if the scales had fallen their eyes. The astonishing partwas not that each of the men had independently discovered the eye movement patterns¡Ýas one of them in the exchange says, How could anyone miss it!¡Ýbut that they could have failed to notice this obvious pattern previously! 

Grinder and Bandler coded their independent observations into what has now become known as the funny face:

 
´ãµåÆ°ºî¥Ñ¥¿¡¼¥ó














perhaps the most commonly recognized popular icon of NLP. They were struck with the simplicity of the pattern while sensitive to handedness (a common measure of so called cerebral dominance) as well as its robustness-independent of culture and language. 

 

This provided them with the opportunity to test whetherothers, given the original reference point¡Ýthe predicates specified for representational systems¡Ýwould find the same pattern. They then challenged a number of theirstudents to find this pattern. This exercise proved highly successful as the majority of the students so challenged succeeded in finding the same set of eyemovements that the Grinder and Bandler had originally independently discovered.  


There are few NLP patterns that can be justly claimed to beoriginal discoveries by the co-creators of NLP (as opposed to modeling ofpatterning already present in the behavior of highly effective people albeit intuitively). The discovery of the eye movements represents one such original piece of research on the part of Bandler and Grinder. The majority of patterns coded by NLP are the result of the modeling of high performers (mapping from tacit knowledge (behavioral competency) to an explicit model; or borrowings fromvarious fields such as linguistics, neurology and others. For example, subsequent to coding the eye movement patterns, Grinder and Bandler raided the Science Library at UCSC and educated themselves (as far as one can through asearch of the literature on a subject) about the set of neurological studies that were in any way associated with their observations of the eye movements. Sure enough, there buried in the literature they found a set of studies conducted in the '50's in which neurologists had discovered that the movementof the eyes from a position at rest focused directly at the center of the field  of vision to either side activated the contra-lateral hemisphere

¡Ýthus, if the eyes move from center to the right in a lateral movement, the left cerebral hemisphere is activated, andvice versa. The identification of the significance of the vertical dimension and its coding apparently is an original piece of patterning and coding by Grinder and Bandler.
¡Ê'Whispering in the WInd' p.170-172¡Ë


John&Carmen














Amazon:

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





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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¡¡¢ª¡¡auditory
¡¡ ¡ÊI see¡Ë¡¡  ¡Êwhat you are saying¡Ë

¡¡
  I feel that what you aresaying is unclear

¡¡¡¡kinesthetic¡¡¢ª¡¡auditory¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡¢ª¡¡visual
¡¡ ¡ÊI feel¡Ë¡¡ ¡¡¡¡ ¡Êwhat you are saying¡Ë¡¡¡¡ ¡Êin unclear¡Ë

 

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
¡Ýthe mini-presentations of the participants at the initial meeting of the new group¡Ý 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...


Analysis
: 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 place¡Ýin other words

, here is the setting¡Ýhere I can really tune intowhat's happening insideof me.


Analysis
: The underlined predicates are resonantly auditorily based.

 

The selection of predicates under normal circumstances isan unconscious act¡Ýthis 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 with¡Ýas 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.
¡Ê'Whispering in the Wind' p168-170¡Ë


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Amazon:

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






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Comment on the First Patterning of the Representation Systems


Although during the private debriefing session between the two fo us¡Ýa ritual witch was standard practice after a piece of work in whichwe would regale one another with stories about what had happened (and what could have happened)¡Ýwe were quite clear that we had stumbled on the edge of a pattern that was wuite powerful; the shape of that pattern was not yet clear.

We emphasize the importance of the style of playing with the pattern inthisearly phase even before we had any explicit understanding of the formal properties of that pattern. In the original game that occurred in the car traveling from Ben Lomond to Santa Cruz, the pattern
¡Ýwhichat that time we were not competent to code was¡Ýsynesthesia. Synesthesia is the name for the circuitry in the human cortex (although certainly not exclusively human) which links the various sensory input modalities and their primary cortical centers in such amanner that the cortical projection areas are cross wired. More specifically, approximately 1/3 of the visual cortex (occipital lobes) receives inputs fromthe kinesthetic and auditory sensory input channels, and again, approximately1/3 of the auditory cortex (temporal lobes) receives inputs from the kinesthetic and visual input channel...

Among some of the more common experience sinvolving synesthesia you find listening to music with your eyes closed and watching shifting visual images (complete with color¡Ä) associated with the music (auditory to visual mapping: hear-see circuitry), the soothing feelings experienced when listening to a speaker who has excellent command of his or hervoice and constantly uses tonality, rhythm, intonation contour¡Ä to enhance their presentation (auditory to kinesthetic: hear-feel circuitry), the feelingsof exhilaration you achieve (especially if you have some previous experience inthe particular art form and you mirror with micro muscle movements what you areobserving) watching exquisitely (visual to kinesthetic: see-feel circuitry)...

Some researchers use the term synesthesia rather more tightly¡Ýto refer only to those cases where the person who is experiencing the synesthesia does so involuntarily. In other words, in the above examples, theperson having the synesthesia experience chooses to have the experience and isable, if they so decide, to terminate it. The clinical use of the term is sometimes restricted in use to a person who apparently has no choice about initiating or terminating the process. We use the term more generally as itseems to us that such experiences are a natural part of the legacy of being human.
¡Ê'Whispering in the Wind' p.167-168¡Ë


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




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NLP¡Çs Second Model: Representational Systems¡Ýan early breakthrough in NLP patterning

It was late one plesant afternoon in the middle 70's when I (John Grinder) picked Richard up at hisplace at 1000 Alba Road in Ben Lomond, a small mountain community up the SanLorenzo Valley some 8 or so miles from Santa Cruz. We were to begin a new groupthat evening¡Ýthe first meeting of such groups isespecially amusing and charged with expectations, as first meetings tend to be.We had little if any knowledge who the people who would show up would be, butwe were certain that since they were from Santa Cruz, it would be at least amusing.

Rechard asked me to stop at the Ben Lomond liquor store so that he could buysome cigarettes. As I sat in the car in front of the store waiting for him to complete his transaction, I mused over the events of the last fewmonths as well as speculated where we were headed next. We had completed The Structure of Magic, volume­µwith the meta model and we wereflying. The response to our work, both by local aficionados and professionals from around the country had been immediate and extremely positive.

We were jamming
¡Ýwe seemed to do little but eat, drinkand sleep patterning¡Ýwell, maybe there were a few otherthings. As Richard stepped back into the car, interrupting my reverie, he was laughing. I asked what was so funny. He said (more or less), 

You know, John, people say the weirdest things, the woman I was talking to atthe counter. She said, "I see what you are saying."

He then relapsed into convulsive laugher. As I pulled onto Highway 9 headingfor Santa Cruz, I watched him in my peripheral vision, wondering to myself whatit was that made the statement so funny to him. After several moments, I said to him,

Does the statement, "I feel that you are saying is unclear." strikeyou as funny as well?

Bandler looked at me sharply, appearing to be simultaneously bemused andstarted. We then began a very special and very typical game between us: as wedrove toward Santa Cruz, we presented one another with example after example ofthe "same" pattern. Yet again, the game was afoot!

Please understand that neither one of us could have at that point defined what this pattern was that we were generating examples of. This intuitive opening gambit in patterning was very common between us. Both of us recognized that wewere tracking a pattern and while at some point it would become useful to explicate the pattern itself, that that point still lay some distance in the future. In the interim, we were content to pursue the game. 

The journey was hilarious as we continued amusing one other and ourselves with more and more outlandish examples. As we approached Santa Cruz, I pulled intothe parking lot of a general store and several minutes I later emerged with asheaf of colored paper, green, red and yellow.

When we got to the place where the group was meeting thet evening (a privatehome), we positioned ourselves as was our custom at the front and watched and listened to the interactions among the people present while waiting for the last few to arrive. In those days in Santa Cruz, it was de rigueur to begin thefirst meeting of such groups by inviting each of the members of the group, oneby one, to stand and present themselves, usually announcing their name and what idea, if any, they had about what they were doing there. This evening, however,as each member of the group finished their short self-introduction, either Richard or I would reach down, touch one of the three colors of paper lying onthe floor in front of us. If the other one of us nodded, the one touching the paper would tear off a piece of that paper and present it meaningfully to the participant, naturally without explanation.

We (Bostic and Grinder) offer several examples of typical presentations by participants to give the reader a taste of the process.

Participant 1: Well, good evening. My name is Linda and I feel really excited about being here with all of you. I'm kinda tingly and a little nervous. My hope is to really get in touch with myself and....

Participant 1 receves a yellow piece of paper

Participant 2: Wow! I'm looking around the group and I see a lot of shining faces. I'm George. The picture I'm getting is real focused. What I want to takea look at is my relationships with my girl friend and how I can help make our future even brighter...

Participant 2 receives a red piece of paper

Participant 3: I'm Paul. I've heard a lot of groovy stuff about these two guyshere, Richard and John. Sounds to me like we gonna have a really cool timetogether. I was saying to myself that maybe here is the place
¡Ýin other words, here is the group¡Ýwhere Ican really tune into what's happening inside of me...

Participant 3 receives a green piece of paper.

After each of the members of the group had spoken and duly received their incomprehensible piece of coloed paper, Richard and I gave them instructions to introduce themselves less formally to other members of the group. We instruct them that there was a particular and very important method (we acted as ifeverything was importanr in those days) to how we wanted time to accomplish this. For the first 10 minutes, they were to spend time conversing only withpeople who had the same color piece of paper that they had. We went on toexplain that after 10 minutes, we would ask them to communicate uniquely with people who had pieces of paper of another color. We sat back to watch and listen.

The difference between the first and the second 10 minute periods was astonishing: During the first 10 minutes
¡Ýthe matching condition¡Ýthe volume of sound in the room, the peals oflaughter from different people, the animated movenebts of the participants, the eager and receptive postures as they connected... all spontaneous indicators of a group of well connected peaple.

The second 10 minutes, the mismatching condition, couldn't have been more contrasting
¡Ýlow volume, desultory fragments, pieces of conversation, extended periods of silence, minimal physical movement, wooden postures, minimal eye contact... As Richard and I observed the unmistakable difference between the sessions in the same group, we realized that we were trackinga very powerful pattern. We finished the group with some other material and exhorted the people in the group¡Ýwho had noted thedifference in the two sessions themselves¡Ýto figure out what the difference that made those differences was¡Ýobviously, we were giving instructions to ourselves as well.
¡Ê'Whispering in the Wind' p.164-167¡Ë

John&Carmen















Amazon:

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




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The principles of NLP are equally applicable in assisting business executives to reorganize their priorities and generate new options; inhelping scientists and engineers get the most from their research and upgrade their teaching ability; in showing educators new and remarkably effective educational system design principles; in extending to lawyers and judges features of communication that greatly facilitate settlements; in aiding therapists to more effectively and quickly aid their clients. NLP is for peopleinterested in getting things done and enjoying themselves in the process.


An important aspect of NLP is its versatility. Its methods of pattern identification and sequencing may be generalized from individual human beingsto larger order systems, from contexts involving remedial change (problemsolving) to those involving evolutionary change (extending the domain of decision variables beyond the present state for an individual or system nowfunctioning effectively). NLP may be applied as profitably to the internal organization of a bureaucratic hierarchy as to the representational systems of an individual. In all cases the formal sequencing and scheduling of activity between the structural components of a system will determine the possible outcomes of that system and the effectiveness of that system in securing those outcomes. 

In an organization, its departments or employees takethe place of representational systems within a single human being. Each isresponsible for a certain set of inputs, processing and outputs that contribute to one or more other sets of inputs, processing and outputs of the othermembers of the system and of that system as a whole. By understanding the functional characteristics of the components (employees, departments, sections, divisions, etc.) of an organization and the desired outcomes of that organization, the neuro linguistic programmer can assist in sequencing orresequencing the interactions between components to achieve the desired outcomein the most elegant and effective manner. 

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°úÍÑ¡§Neuro-Linguistic Programming: Volume­µ¡ÝThe Study of the Structure ofSubjective Experience p.22-23

Amazon:
Neuro-Linguistic ProgrammingNeuro-Linguistic Programming [¥Ï¡¼¥É¥«¥Ð¡¼]
John Grinder
Richard Bandler
Robert Dilts
Judith DeLozier




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Each of you reading this sentence has a strategy for taking the peculiar patterns of black ink on this white pageand making meaning out of them for yourself. These sequences of letters, likethe other visualization phenomena just described, are meaningless outside of the sensory experiences from your own personal history that you apply to them.Words, both written and spoken, are simply codes that trigger primary sensory representations in word that we have never seen or heard before will have nomean us. A to us because we have no sensory experience to apply to it. (For a further discussion of language as secondary experience see
Patterns­¶.)

As you read these words you may, for example, be hearing your own voice inside your head saying the words as your eye reports the visual patterns formed by lettersin this sentence. Perhaps you are remembering words that someone else hasspoken to you before that sounded similar to those printed here. Perhaps the sevisual patterns have accessed some feelings of delight or recognition within you. You may have noticed, when you first read the description of the young manin the white smock, that you made images of what you were reading¡Ýyou were using the same representational strategy for making meaning that the young man in our description was using.

The ability to transform printed symbols into internal images, into auditory representations, into feelings, tastes or smells, allows us to use strategies for making meaning that are available to each of us as human beings. Certain strategies are highly effective for creating meaning in certain contexts while others are more effective for other tasks. The strategy oftaking external visual symbols and translating them into internal auditory dialogue would not be appropriate if you were listening to a record, doing therapy or playing football.

This book presents what we call meta-strategies: strategies about strategies. More specifically, this book describes how to elicit, identify, utilize, design and install strategies that allow us to operate within and upon our environment. NLP is an explicit meta strategy designed for you¡Ýto shift dimensions of your experience from the class of environmental variables to the class of decision variablesand, when appropriate, to assist others to do so. NLP is an explicitmeta-strategy by means of which you may gain control over portions of your experience which you desire to control, an explicit meta-strategy for you touse to create choices that you presently don't have and to assist others insecuring the choices they need or want.

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Neuro-Linguistic ProgrammingNeuro-Linguistic Programming [¥Ï¡¼¥É¥«¥Ð¡¼]
John Grinder
Richard Bandler
Robert Dilts
Judith DeLozier







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Our representational systems form the structural elements of our own behavioral models. The behavioral "vocabulary" of human beings consists of all the experiential content generated, either internally or from external sources, through the sensory channels during our lives. The maps or models that we useto guide our behavior are developed from the ordering of this experience intopatterned sequences or "behavioral phrases," so to speak. The formal patterns of these sequences of representations are called strategies in neuro linguistic programming.

The way we sequence representations through our strategies will dictate the significance that a particular representation will have in our behavior, justas the sequencing of words in a sentence will determine the meaning of particular words. A specific representation in itself is relatively meaningless. What is important is how that representation functions in thecontext of a strategy in an individual's behavior.

Imagine ayoung man wearing a white smock, sitting in a comfortable position, sunlight streaming through a high window to his right and behind him. To his left is ared book with silver lettering on its cover. As we look closer, we see himstaring at a large white sheet of paper, the pupils of his eyes dilated, his facial muscles slack and unmoving, his shoulder muscles slightly tense whilethe rest of his body is at rest. His breathing is shallow, high in his chestand regular. Who is this person?

From the description he could be a physicist, visualizing a series of complex mathematical expressions which describe the physical phenomena he wishes to understand. Equally consistent with the above, the young man could be anartist, creating vivid visual fantasies in preparation for executing an oilpainting. Or, the man could be a schizophrenic, consumed in a world of innerimagery so completely that he has lost his connection with the outside world.

What links these three men is that each is employing the same representational system¡Ýattending to internal visual images. What distinguishes them from one another is how each utilizes his rich inner experience ofimagery. The physicist may in a moment look up to a fellow scientist and translate his images into words, communicating through his colleague's auditorysystem some new pattern he's discovered through his visualizations. The artist may in a moment seize the white sheet of paper and begin to rough in shapes and colors with a brush¡Ýmany of them drawn directly fromhis inner imager translating inner experience into external experience. The schizophrenic may continue his internal visual reverie with such complete absorption that the images he creates within will distract him from responding to sensory information arriving from the outside world.

The physicist and the artist differ from the schizophrenic in terms of the function of their visualizations in the contextof the sequence of representational system activities that affect the outcomeof their behavior: in how their visualizations are utilized. The physicist andthe artist can choose to attend visually to the world outside or to their owninner visual experience. The process of creating inner visual experience is thesame, neurologically, for all three men. A visual representation in itself¡Ýlike the waterfall or the mold on the bread previously discussed¡Ýmay serve as a limitation or a resource to human potential depending on how it fits into context and how it is used. The physicist and the artist control the process; the process controls the schizophrenic. For the physicist and the artist, the natural phenomenon of visualization belongs to the class of decision variables; for the schizophrenic it belongs to the class of environmental variables.

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John Grinder
Richard Bandler
Robert Dilts
Judith DeLozier




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In NLP, sensory systems have much more functional significance than is attributed to them by classical models in which the senses are regarded as passiveinput mechanisms. The sensory information or distinctions received through each of these systems initiate and/ or modulate, via neural interconnections, an individual's behavioral processes and output.

Each perceptual class forms asensory-motor complex that becomes "response-able" for certainclasses of behavior. These sensory-motor complexes are called
representational systems in NLP. Each representational system forms a three part network: 1) input, 2) representation/processing and 3) output. The first stage input, involves gathering information and getting feedback from the environment (both internal and external). Representation/processing includes the mapping of the environment and the establishment of behavioral strategies such as learning, decision making, information storage, etc. Output is the casual transform of the representational mapping process. 

"Behavior" in neuro linguistic programming refers to activity within any representational system complex at any of these stages. The acts of seeing, listening or feeling are behavior. So is "thinking," which, if broken down to its constituent parts, would incl sensory specific processes like seeing in the mind's eye, listening to internal dialogue, having feelings about something and so on. All output, of course, is behavior¡Ýranging from micro-behavioral outputs such as lateral eye movements, tonal shifts in the voice and breathing rates to macro¡Ýbehavioral outputs such as arguing, disease and kicking a football.

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Neuro-Linguistic ProgrammingNeuro-Linguistic Programming [¥Ï¡¼¥É¥«¥Ð¡¼]
John Grinder
Richard Bandler
Robert Dilts
Judith DeLozier






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The following except from Patterns­¶ will further assist the reader in understanding the 4-tuple:

"Assuming that you are a reader who at this point in time is sitting comfortably in a quiet place and that you are reading alone, the 4-tuple can beused to represent your present experience of the world as follows:

the printed words of thebook,
the lighting pattern of the room...

the feeling of the chair,
the temperature of the room...



the smell of the room,
the freshness of the air... i


The specific 4-tuple which represents the reader's experience where i is the referntial index of the reader and the blankspace
indicates no experience in that mode.


"In words, the reader's present experience of the world is represented by a description of the visual input from the words, his present kinesthetic sensations and the olfactory sensation available. Since, by our assumption, the reader is in a place where he is presently receiving no auditory input from the external world, the value of the variable A, (the auditory tonal portion of hisexperience) is O. The values of the V, K and O variables are specified by a description of the input from the world that is impinging on the reader at this point in time. Notice that in specifying the 4-tuple for the reader's present experience, we restricted ourselves to representing experience originating in the world external to the reader. The 4-tuple can also be used to represent the reader's total experience¡Ýthat is, his present ongoing experience independently of whether it originates in the world external to the reader or not. We have found it useful in our work to identify the origin of the portion of the experience described in the 4-tuple¡Ýthat is to distinguish between which portion of the experience represented by the 4-tuple originatesin the world external to the person whose experience is represented by the 4-tuple and which portion is generated by the person's own internal processes. One easy way of representing this distinction is by simply attaching asuperscript to each component of the 4-tuple¡Ýeither an i (internally generated)or an e (externally generated). Thus assuming that the reader is reading with internal dialogue at this point in time and using the superscripts which distinguish the internally generated from externally originated components ofthe 4-tuple, the reader's 4-tuple would look like:

the printed words(e), ofthe book,
the lighting pattern in the room...

the feeling of(e), the chair,
the temperature of the room...

the tempo and tonal(i), qualities ot the auditory internal dialogue...

the smell of(e), the room,
the freshness of the air...

"As with all the distinctions in the model, this superscript distinction between internally and externally generated experience will be employed only when it is useful for the task for which it is to be used."

ÃγХ·¥¹¥Æ¥à







°úÍÑ¡§Neuro-Linguistic Programming: Volume­µ¡ÝThe Study of the Structure of Subjective Experience p.18-19

Amazon:

Neuro-Linguistic Programming
John Grinder
Richard Bandler
Robert Dilts
Judith DeLozier
Meta Publications
1980-06-01



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Representational Systems: The Building Blocks of Behavior

The basic elements from which the patterns of human behavior are formed are the perceptual systems through which the members of the species operate on their environment: vision (sight), audition (hearing), kinesthesis (body sensations) and olfaction/gustation (smell/taste). The neurolinguistic programming model presupposes that all of the distinctions we are human beings are able to make concerning our environment (internal and external) and our behavior can be usefully represented in terms of these systems. These perceptual classes constitute the structural parameters of human knowledge. 

We postulate that all of our ongoing experience can usefully be coded as consisting of some combination of these sensory classes. In our previous work (see Patterns II) we have chosen to represent and abbreviate the expression of our ongoing sensory experience as a 4-tuple. The 4-tuple is shown visually as:

¡¡¡¡¡ã £Áe,i¡¤£Öe,i¡¤£Ëe,i¡¤£Ïe,i ¡ä


Here, the capital letters are abbreviations for the major sensory classes or representational systems that we use to make our models of the world:

¡¡¡¡A ¡á Auditory/Hearing
¡¡¡¡V
¡á Visual/Sight
¡¡¡¡K
¡á Kinesthetic/Body Sensations
¡¡¡¡O 
¡á Olfactory/Gustatory¡ÝSmell/Taste


The superscripts "e" and "i" indicate whether the representations are coming from sources external, "e", to us, as when we are looking at, listening to, feeling, smelling or tasting somethingthat is outside of us, or whether they are internally generated, "i" as when we are remembering or imagining some image, sound, feeling, smell ortaste. We can also show the 4-tuple iconically as:

ÃγХ·¥¹¥Æ¥à






°úÍÑ¡§Neuro-Linguistic Programming: Volume­µ¡ÝThe Study of the Structure of Subjective Experience p.17

Amazon:
NLP´ØÏ¢½ñÀÒNeuro-Linguistic Programming
John Grinder
Richard Bandler
Robert Dilts
Judith DeLozier
Meta Publications
1980-06-01


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