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4.
Articulating: Differentiating Into Flexibility
(This
section to be added soon. Principles of repatterning will be shown,
first in bodywork, as an example, and then extending into repatterning
the whole being through DEPTH Dialogue. All of this is based on the
understanding of how repatterning fits into the whole scheme of the
rediscovery of the inner dynamics of deep inner Socratic dialogue. This
was presented in the Introduction section.)
For now, a brief
synopsis of the
topic:
Articulation is
central to the practical application of the principle
of Dynamic Pattern Transcendence, which is the core of dynamic
repatterning, because the corollary to that principle states that
fine differentiation (i.e. articulation) in the process of direct
bodily experiencing spontaneously leads to Dynamic Pattern
Transcendence.
In bodywork
repatterning, articulating is a key factor in the gaining
of fluidity and flexibility. The way that this happens can be
illustrated by the example of a "frozen" hand, i.e. a hand that doesn't
have the ability to move much.
In order to get the
hand to gain fuller range of movement you would use
techniques of lengthening and broadening, with a lot of articulating
within these. Articulating means that you would work around the joints
of the hand in order to get them to start to move. This would be
indirect and subtle repatterning work using broadening and lengthening
and dissolving. Once you start to get movement in the joints of the
hand you start to get the differentiation in the hand as a whole that
gives it fluid and flexible movement. Because movement in and around
the joints has been freed up there are more possibilities for a whole
variety of new movements in the hand as a whole.
On the level of
dynamically repatterning the whole being in DEPTH
Dialogue, articulating takes place by articulating the many and varied
forms of possible experiences that come up while focusing on an
experience, which may be "frozen" like the hand in the example. Frozen
or fixed, rigid experiences are what cause seeming problems or "issues"
in life. Through repatterning we don't directly address the supposed
difficulties but look to find subtle, indirect ways to get more
fluidity and flexibility of motion so that the problems just disappear.
The ways of applying
this are many and varied, and can only be
improvised on the spot in response to what is happening in the moment.
In Socratic dialogue, both the live improvised kind and Plato's written
ones, these elements make for the vast variety of possibilities in the
exploration of experiences. At any juncture in the exploration you can
go in any number of ways. There is no right or wrong way to go. There
is just the improvised exploration, and any way you go will lead to
some kind of opening up and spreading out of the experience, and
greater articulation into fluidity.
In this, there are
some broad categories of experience that can be
delineated that serve as guidelines for differentiations that can be
made. Within these categories there are even finer distinctions. The
following are just some of the broadest categories:
I.
Sensory/Feeling
Differentiation
(These are mainly
used to get fine differentiation in the immediate,
direct sensate and felt-sense levels of experiencing that are mostly
addressed by the Broadening elements of DEPTH Dialogue.)
1.a. Sensate Elements
(inner bodily sensation)
1.
Location/position
2. Center of
sensation
3. Boundary
4. Extent
5. Intensity
6.
Concentration
7. Movement
8. Qualities
(see # 1.b.)
9. Duration
10. Texture
and Consistency
11.
Pressure/force
12. Changes in
any of these
1.b. Sensate Qualities
I. Categories
1. Heavy
2. Yucky
3. Full
4. Pressing
5. Strong
6. Sharp
7. Burning
8. Wet
9. Falling
10. Moving
11. Vibrating
12. Loosening
13. Exciting
14. Light
15. Soothing
II. Qualities of or like the
following:
1. Touch
2. Body
movement
1.c. Sensate Variations
1. Sensation changes
2. Other sensations
3. Other qualities
4. Selective attention
5. Move around body
6. Broaden the scope
7. Narrow the scope
8. Background/foreground
9. Switch these
10. Near sensations
11. "Like" sensations
12. Scan for "like"
13. Scan for pleasant
14. Scan for unpleasant
15. Switch these
16. Body as one sensation
17. Tiniest sensation
18. Interact 2 sensations
19. Interact many
20. All in body interact
2. Life-Feeling Elements
(whole body felt sense)
1. Extent
2. Light/heavy
3. Moving
Internal
External
4. Shape/Color/Consistency
5. Feeling-tone
6. Charge
(7. Adapt Sensate Qualities, from
above)
3.
Subtle Energy Elements
1. Qualities
2. Extent
3. Borders
4. Feeling
5. Strength
6. Radiance
7. Movement
8. Flow
9. Body interaction
10. Other Elements
4.
Intuitive/Psychic Elements
1. Visual
2. Auditory
3. Empathic
4. Discrimination in the above
5.
Emotional Elements
1. Apathy
2. Sadness
3. Fear
4. Greed
5. Confusion
6. Disgust
7. Passion
8. Anger
9. Courage
10. Excitement
11. Love
12. Joy
13. Acceptance
14. Peace
6.
Sensate/Life-Feeling/Emotional Variations (S/L/E)
1. Increase/diminish intensity
2. Extend or contract
3. Faster or slower
4. Sharper or more diffuse
5. Deep or superficial
6. Personal or detached
7. Similar but different S/L/E
8. Substitute different S/L/E
9. Change the blend of S/L/E's
10. Change nuance, texture or tone
11. New blends or new separations
12. Separate the S/L/E from its
function
13. Show more or hide more
14. Dwell on or skip quickly
through
II.
Experiential
Differentiation
(These are used
mainly to get fine differentiation in the mediated
levels of experiencing that build upon the immediate sensate levels.
This means the more representational levels of experience which are
more "mental" and less directly somatic.)
1.
Differentiation Elements
I. Details
1. Description
2. Elaboration
II. Modes of Knowing
1. Name
2. Definition
3. Examples
4. Insight
III. Discrimination
1. Either/Or
2. Differences
3. Commonalities
4. Opposites
5. If . . . then .
. .
6. Clarification
2.a. Object Elements
1. Size/Dimension
2. Shape/Boundaries/Containment
3. Color
4. Taste
5. Energy/Power/Force
6. Location/Placement/Position
7. Movement
8. Condition
9. Composition
10. Qualities (weight, hot/cold,
etc.)
11. Contact with other objects
12. Quantity
2.b. Object Variations
1. Increase/decrease
2. Join/separate
3. Compose/decompose
4. Substitute properties
5. Accelerate/decelerate
6. Forward/backward in time
7. Properties change over time
8. Separate object from its
function
9. Change relation to surroundings
10. Change the composition
3.
Sensory Details
1. Sight
2. Hearing
3. Taste
4. Touch
5. Smell
4. Relational Elements
1. Distinguishing Characteristics
(Identity)
2. Patterns of Relations
(Connections)
3. Change Over Time (Sequencing)
4. Levels of Focus (Zooming in
and out)
5. Points Of View (Perspective)
6. Morphing (Transformations)
5. Metaphor Elements
1. Spatial
2. Temporal
3. Causal
4. Topological
(containers, boundaries, areas, etc.)
5. Body and body movements
6. Location, place,
placement
7. Things, and properties
of things
8. Actions, and properties
of actions
9. Processes, and
properties of processes
10. Things in action
11. Movements, forces
12. States, conditions
13. Functions
14. Relationships, roles
15. Essences, qualities
6.
Expressive Elements
I. Elements of feeling/sensing
1. Blood flow
2. Sensate Elements
3. Life-Feeling Elements
4. Emotions/blends
II. Explore these for:
1. Placement (see # III,
below)
2. Flow
3. Movement into action
III. Placement
1. Face muscles
2. Eyes and around eyes
3. Voice muscles
4. Action muscles
7. Fun Elements
1. Exaggerate or its opposite
2. Make silly
3. Invert elements or relations
4. Re-arrange elements or
relations
5. Make still move or move still
6. Silly or fanciful use
7. Assumption/belief busting
8. Story Elements and Variations
1. Plot
2. Characters
3. Motives
4. Circumstances
5. Setting and Scene
6. Narrator Perspective
Variations
1. Make something different
2. A “like” or “near” experience
or element
3. Changes in any element
9.a. Identity (character)
1. Bodily states and conditions
2. Guts and feelings
3. Thought patterns
4. External circumstances
5. Selfhood circumstances
6. Actions
9.b. Identity (core)
1. Safeness
2. Recognition
3. Respect
(All
of this always
takes place in combination with other elements of the
practice, for a deep and more thorough result, but here we are
isolating
each element for the purpose of describing it.)
To continue, go to
the next section, Dissolving.
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