You select a new frame, or context, "C." Then you explain how the concept "B" works, and you propose the new frame "C", and in that, "A" is the result, or is possible.įor example, if you want your woman to have orgasms whenever she sucks your cock, don't just say to her "Baby, you will have orgasms whenever you suck my cock." That suggestion will probably get rejected. You pick a subject matter "B," which is something she has little or no working knowledge of, though she may have respect for. You want your woman to do "A," which happens to be something that she would normally not be interested in doing or normally would not believe to be possible. Some of his famous patterns are along these lines. And once that is possible for her in that frame, it can be possible for her at any later time in any frame. And in that frame, the desired result is possible. So, a comparison is made, but it cannot be made with anything that is familiar, it can only be made in the context of the new frame that was presented. There is loss of mental equilibrium, it acts as a sudden shocking input/command (even when gently posed), and it's a Major distraction, which allows for suggestions slipping in as context rather than directive." He said "I like to pose entirely new frames to subjects because they haven't had time/experience to develop 'defenses' against them. The person has nothing to compare it with, except the new frame, and thus the suggestion goes straight in. Since it relates to nothing that the person has knowledge of, then there is no resistance to the new frame. Mark speaks about giving the person an entirely new frame. But how do we suspend the critical factor? If you want to avoid any rejection of suggestion, you must suspend the critical factor. In fact, she will probably give you a very strange look. For example, if you say to her "When you suck my cock, you will have an orgasm." She will probably not accept that because it is unfamiliar to her. However, if a comparison is made and the result comes back 'unfamiliar' the suggestion is rejected. For example, if you say to your woman "When I eat you out, you are going to have an orgasm." She will accept that because it is familiar. So, if a comparison is made and the result comes back 'familiar' the suggestion goes straight in. The gateway to trance is the suspension of the comparison engine, so the subconscious cannot distinguish between fact and illusion." It's the comparison and judgment made that is of the essence. He also said "When input is recognized, then a comparison is made. In other words, it's like going to see a good movie and you suspend all disbelief. The critical factor (that part of the conscious mind that critiques everything) is temporarily put aside. Relaxation, catalepsy, all the 'classic' tests do not have to be present in order to have a profound trance effect taking place." she suspends judgments and focuses on being led through an experience. Mark Cunningham said: "I use the working definition as follows: Hypnosis is the suspension of the Critical Factor, coupled with the establishment of acceptable selective thinking.
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