THE CONFUSION TECHNIQUE Milton's Confusion Technique as printed in "The Collected apers"! "olu#e I p$s% &'(!

&') It is pri#aril* a +er,al technique! althou$h panto#i#e can ,e used for confusional purposes as -ell as for co##unication% .s a +er,al technique! the Confusion Technique is ,ased upon pla*s upon -ords! an in+ol+ed e/a#ple of -hich can ,e readil* understood ,* the reader ,ut not ,* the listener! such as "0rite ri$ht ri$ht! not -ri$ht or -rite%" Spo1en to attenti+e listeners -ith co#plete earnestness! a ,urden of constructin$ a #eanin$ is placed upon the#! and ,efore the* can re2ect it! another state#ent can ,e #ade to hold their attention% This pla* on -ords can ,e illustrated in another fashion ,* the state#ent that a #an lost his left hand in an accident and thus his ri$ht 3hand4 is his left% Thus t-o -ords -ith opposite #eanin$s are used correctl* to descri,e a sin$le o,2ect! in this instance the re#ainin$ hand% Then! too% Use is #ade of tenses to 1eep the su,2ect in a state of constant endea+or to sort out the intended #eanin$% For e/a#ple one #a* declare so easil* that the 5ESENT and the .ST can ,e so readil* su##ari6ed ,* the si#ple state#ent! "That -hich no- IS 0I77 soon ,e 0.S *esterda*'s FUTU5E e+en as it 0I77 8E to#orro-'s 0.S%" Thus are the past! the present! and the future all used in reference to the realit* of "toda*"% The ne/t ite# in the Confusion Technique is the e#plo*#ent of irrele+ancies and non sequiturs! E.CH OF 0HICH T.9EN OUT OF CONTE:T appears to ,e a sound and sensi,le co##unication% Ta1en IN CONTE:T the* are confusin$! distractin$! and inhi,itin$ and lead pro$ressi+el* to the su,2ects' earnest desire for an actual need to recei+e so#e co##unication -hich! in their increasin$ state of frustration! the* can readil* co#prehend and to -hich the* can easil* #a1e a response% It is in #an* -a*s an adaptation of co##on e+er*da* ,eha+ior! particularl* seen in the field of hu#or! a for# of hu#or this author has e#plo*ed since childhood% . pri#ar* consideration in the use of a Confusion Technique is the consistent #aintenance of a $eneral casual ,ut definitel* interested attitude and spea1in$ in a $ra+el* earnest! intent #anner e/pressi+e of a certain! utterl* co#plete e/pectation of their understandin$ of -hat is ,ein$ said or done to$ether -ith an e/tre#el* careful shiftin$ of tenses e#plo*ed% .lso of $reat i#portance is a read* floof lan$ua$e! rapid for the fast thin1er! slo-er for the slo-er #inded! ,ut al-a*s ,ein$ careful to $i+e a little ti#e for a response ,ut ne+er quite sufficient% Thus the su,2ects are led al#ost to ,e$in a response! are frustrated in this ,* then ,ein$ presented -ith the ne/t idea! and the -hole process is repeated -ith a continued de+elop#ent of a state of inhi,ition! leadin$ to confusion and a $ro-in$ need to recei+e a clear;cut! co#prehensi,le co##unication to

-hich the* C.N M.9E a read* and full response% ".7UE OF CONFUSION TECHNIQUES .#on$st #* learnin$s of h*pnosis and N7 ! t-o of the #ost po-erful tools I ha+e found a+aila,le -ould ,e "anchors! and the art of controlled confusion% Our #e#,ership see#s to ,e #ost interested in "Co+ert Methods" of h*pnosis% To e+en ,e$in h*pnosis in a co+ert #anner ,oth of these t-o s1ills MUST ,e #astered% 0hat #a1es these t-o s1ills so po-erful is the fact the* the* dri+e a person "INSI<E" on a "transdira+ational search"% 5e#e#,er that ter# "Transdira+ational Search"% 0hat is a transdira+ational search! it is a search for #eanin$! -hich can ,e interrupted ,* the operator 3h*pnotist4 -ith -hate+er *ou choose% .nchors are one of the #ost useful and easiest tools for causin$ these searches! and the confusion technique is another% This transdira+ational search is an auto#atic trance! it is the ,asis of the fa#ous "Handsha1e Technique"! and once understood! the h*pnotist can learn ho- to utili6e its function% =ou cannot ha+e Co+ert h*pnosis -ithout it! and -ith it *our possi,ilities of ,rin$in$ on profound trances 2u#ps trou$h the s1*% I -ill ,e -ritin$ #uch a,out anchors and the confusion technique -ith its #an* +arieties throu$hout the upco#in$ #onths% Feel free to pla* -ith *our friends! ,ut ,e careful and don't $et to carried a-a*% The follo-in$ is an e/cerpt fro# Milton Eric1son's "The Nature of H*pnosis" "olu#e One of the Collected apers% The +alues of the confusion technique are t-ofold% In e/peri#ental -or1 it ser+es e/cellentl* to teach e/peri#enter's a facilit* in the use of -ords! a #ental a$ilit* in shiftin$ their ha,itual patterns of thou$ht! and allo-s the# to #a1e adequate allo-ances for the pro,le#s in+ol+ed in 1eepin$ the su,2ects attenti+e and responsi+e% .lso it allo-s e/peri#entors to learn to reco$ni6e and to understand the #ini#al cues of ,eha+ioral chan$es -ithin the su,2ect% . final +alue is that lon$ and frequent use of the confusion technique has #an* ti#es effected e/ceedinl* rapid h*pnotic inductions under unfa+oura,le conditions such as acute pain of ter#inal #ali$nant disease and in persons interested ,ut hostile! a$$resi+e! and resistant% The follo-in$ -as used ,* Milton on t-o separate accounts -ith different patients% Capitali6ed -ords -ere ori$inall* printed in italics indicatin$ tonal #ar1in$s% The approach -as> "=ou 9NO0 .N< I 9NO0 and the doctors *ou 9NO0 9NO0 that there is ONE .NS0E5 that *ou 9NO0 that *ou don't -ant to 9NO0 and that I 9NO0 ,ut don't -ant to 9NO0! that *our fa#il* 9NO0S ,ut doesn't -ant to 9NO0! NO #atter ho#uch *ou -ant to sa* NO! *ou 9NO0 that the NO is reall* a =ES! and *ou -ish it could ,e a $ood =ES and so do *ou 9NO0 that -hat *ou and *our fa#il* 9NO0 is =ES! *et the* still -ish it -ere NO% .nd 2ust as *ou -ish there -ere NO .IN! *ou 9NO0 that there is 8UT 0H.T *ou <ON'T 9NO0 is NO .IN is so#ethin$ =OU C.N 9NO0% .nd no #atter -hat *ou 9NE0 NO .IN -ould ,e ,etter than -hat *ou 9NO0 and of course 0H.T =OU 0.NT TO 9NO0 is NO .IN and that is 0H.T *ou are ?OIN? TO 9NO0! NO .IN% @.ll of this is said slo-l* ,ut -ith utter intensit* and -ith see#in$l* total disre$ard of an* interruption of cries of pain or ad#onitions of

"Shut up"%A Esther @Bohn! <ic1! Harr*! or E+an$eline! so#e fa#il* #e#,er or friendA 9NO0S pain and 9NO0S NO .IN and so do *ou -ish to 9NO0 NO .IN ,ut COMFO5T and *ou <O 9NO0 COMFO5T and NO .IN and as COMFO5T INC5E.SES *ou 9NO0 that =OU C.NNOT sa* NO TO E.SE .N< COMFO5T ,ut =OU C.N sa* NO .IN and 9NO0 NO .IN ,ut =OU C.N sa* NO .IN and 9NO0 NO .IN ,ut 9NO0 COMFO5T .N< E.SE and it is SO ?OO< to 9NO0 COMFO5T .N< E.SE .N< 5E7.:.TION and to 9NO0 IT NO0 .N< 7.TE5 and STI77 7ON?E5 .N< 7ON?E5 .S MO5E .N< MO5E 5E7.:.TION occurs and to 9NO0 IT NO0 .N< 7.TE5 and STI77 7ON?E5 .N< 7ON?E5 .S MO5E .N< MO5E .N< MO5E 5E7.:.TION .N< 0ON<E5MENT .N< SU5 5ISE COME TO =OU5 MIN< .S =OU 8E?IN TO 9NO0 . F5EE<OM .N< . COMFO5T =OU H."E SO ?5E.T7= <ESI5E< .N< .S =OU FEE7 IT ?5O0 .N< ?5O0 =OU 9NO0! 5E.77= 9NO0! that TO<.=! TO;NI?HT! TOMO55O0! .77 NE:T 0EE9 .N< .77 NE:T MONTH! and at Esther's @Bohn'sA CDth ,irthda*! and -hat a ti#e that -as! and those 0ON<E5FU7 FEE7IN?S that *ou had then see# al#ost as clear .S IF THE= 0E5E TO<.= and the MEMO5= OF E"E5= ?OO< THIN? is a $lorious thin$ "E 3IF =OU THIN9 TH.T 0.S TOU?H! =OU SHOU7< T5= 5E;T= IN? IT 0ITH ONE FIN?E54 One can i#pro+ise indefinitel*! ,ut the slo-! i#pressin$! utterl* intense! and quietl*! softl* e#phatic -a* in -hich these pla*s on -ords and the uno,trusi+e introduction of ne- ideas! old happ* #e#ories! feelin$s of co#fort! ease! and rela/ation as presented usuall* results in an arrest of patient's attention! ri$id fi/ation of the e*es! the de+elop#ent of ph*sical i##o,ilit*! e+en cataleps* and of an intense desire to understand -hat the author so $ra+el* and so earnestl* is sa*in$ to the# that their attention is sooner or later captured co#pletel*% Then -ith equal care the operator de#onstrates a co#plete loss of fear! concern! of -orr* a,out ne$ati+e -ords ,* introducin$ the# as if to e/plain ,ut actuall* to #a1e further helpful su$$estions% Once the patients ,e$in to de+elop a li$ht trance! I speed the process #ore rapidl* ,* 2u#pin$ steps! *et retainin$ #* ri$ht to #ention pain so that patients 1no- that I do nofear to na#e it and that I a# utterl* confident that the* -ill lose it ,ecause of #* ease and freedo# in na#in$ it! usuall* in a conte/t ne$atin$ pain in fa+or of a,sence of di#inution or transfor#ation of pain% Then one should ,ear in #ind that these patients are hi$hl* #oti+ated! that their disinterest! anta$onis#! ,elli$erence! and dis,elief are actuall* allies in ,rin$in$ a,out the e+entful results! nor does this author e+er hesitate to utili6e -hat is offered% The an$r*! ,elli$erent #an can stri1e a ,lo- that hurts his head and not notice it! the dis,elie+er closes his #ind to e/clude a ,orin$ dissertation! ,ut that e/cludes the pain to! and fro# this there de+elops un-ittin$l* in the patients a different state of inner orientation! hi$hl* conduci+e to h*pnosis and recepti+e to an* su$$estion that #eets their needsF sensi,l* one al-a*s inserts the su$$estion that if e+er the pain should co#e ,ac1 enou$h to need #edication! the relief fro# one or t-o ta,lets of aspirin -ill ,e sufficient% ".nd if an* real e#er$enc* e+er de+elops! a h*po -ill -or1 far $reater success than e+er%" So#eti#es sterile -ater -ill suffice% Unfortunatel* this #ost a#a6in$ series of ,oo1s "The Collected apers of"! see# to no lon$er ,e in print! ,ut *ou #i$ht ,e a,le to order a used cop* throu$h the lin1 ,elo-%

H= E57IN9 "http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'I&HGdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC" http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'I&HGdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC I 2ust chec1ed a#a6on and presentl* the* sa* that the* "ol% &! and "ol% J% It is reall* sad ,ut other ,oo1 dealers I chec1ed -ith sa* that The collection "olu#es C! &! J L I! are all out of print! so -ho 1no-s ho- #an* of +olu#es &!LJ a#a6on has left! ,ut it doesn't surprise #e that "olu#es C! L I are out of stoc1 ,ecause the* are the ,est of the series% It is a real sha#e that these ,oo1s are off the #ar1et ,ecause the* are the treasure of treasures -hen it co#es to h*pnosis ,oo1s% .l#ost e+er*thin$ -e 1no- toda* co#es fro# these four ,oo1s! and if *ou can $et *ourself copies the* are in+alua,le and -orth -hate+er it ta1es to $et the#% I'll pro+ide the old lin1s to the ,oo1s ,elo- in cosecuti+e order for an*one -ho -ishes to chec1 a,out orderin$% .ll the pa$es also ha+e connections for orderin$ used copies as the* co#e up% ?ood luc1% "olu#e C> H= E57IN9 "http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'I&HGdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC" http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'I&HGdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC "olu#e &> H= E57IN9 "http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'IJ)Gdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC" http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'IJ)Gdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC "olu#e J> H= E57IN9 "http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'IIKGdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC" http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'IIKGdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC "olu#e I> H= E57IN9 "http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'I''Gdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC" http>GG---%a#a6on%co#Ge/ecGo,idosG.SINGH(&)HH'I''Gdeeptranceno-;&HGCHJ; C')))KK;JHIJHDC THE 8I5TH OF E5IC9SONMS CONFUSION TECHNIQUE One -ind* da* as I -as on #* -a* to attend that first for#al se#inar on h*pnosis conducted ,* Clar1 Hull in C)&J! a #an ca#e rushin$ around the corner of a ,uildin$ and ,u#ped hard a$ainst #e as I stood ,racin$ #*self a$ainst the -ind% 8efore he could reco+er his poise to spea1 to #e! I $lanced ela,oratel* at #* -atch and courteousl*! as if

he had inquired the ti#e of da*! I stated "It's e/actl* CH #inutes of t-o!" althou$h it -as actuall* closer to I>HHp#! and I -al1ed on% .,out a half a ,loc1 a-a* I turned and sahi# still loo1in$ at #e! undou,tedl* still pu66led and ,e-ildered ,* #* re#ar1% I continued on #* -a* to the la,orator* and ,e$an to pu66le o+er the total situation and to recall +arious ti#es I had #ade si#ilar re#ar1s to #* class#ates! and acquaintances and the resultin$ confusion! ,e-ilder#ent! and feelin$ of #ental ea$erness on their part for so#e co#prehensi,le understandin$% articularl* did I recall the occasion on -hich #* ph*sics la,orator* #ate had told his friends that he intended to do the second3and interestin$4 part of a co#in$ e/peri#ent% I learned of this! and -hen -e collected our e/peri#ental #aterial and apparatus and -ere di+idin$ it up into t-o separate piles! I told hi# at the crucial #o#ent quietl* ,ut -ith $reat intensit*! "TH.T S .55O0 5E.77= F7E0 TO THE 5I?HT! THEN SU<<EN7= F7E0 7EFT! .N< THEN U ! .N< I BUST <ON'T 9NO0 0H.T H. ENE< .FTE5 TH.T%" 0hile he stared ,lan1l* at #e! I too1 the equip#ent for the second part of the e/peri#ent and set ,usil* to -or1 -ith the equip#ent for the first part of the e/peri#ent% Not until the e/peri#ent -as nearl* co#pleted did he ,rea1 the custo#ar* silence that characteri6ed our -or1in$ to$ether% He as1ed! "Ho- co#e I'# doin$ this partN I -anted to do that part%" To this I replied si#pl*! "It 2ust see#ed to -or1 out naturall* this -a*%" "<on't *ou 2ust lo+e this #an% M= HE5O" The a,o+e clip fro# histor* can ,e found in Milton Eric1son's Collected apers;"olu#e I% Than1s for the $reat e/planation of the confusion technique% Bust one little question! do *ou ha+e to -ait for a critical #o#ent to start confusin$ *our su,2ect or is it O9 .N=TIME to use the technique% ,* critical #o#ent! I #ean is there a special co#,ination of the en+iro#ent! the su,2ect's o-n #entalit* and all the surround circustances that -ould #a1e the confusion #ore easil* achie+edN I'# $lad *ou are en2o*in$ this% There is alot to the principles of the confusion technique! and to si#plif* it to $reatl* -ould li#it the possi,ilities% The critical #o#ent *ou question a,out! can ,e either created or *ou can -ait for it% I -ill ,e -ritin$ e/tensi+el* on the principles of confusion! and -hat one should reali6e is that it all ties into anchors% E+er*thin$ in life is an anchor! or a relation to so#e pre+ious e/perience -hether it ,e -ords or actual happenin$s! and e+en the happenin$s ,eco#e ,ro1en do-n% 0hat happens in life all of *our learnin$s ,uild upon each other creatin$ to *our understandin$ due to a pre+ious e/perience% In N7 ! -e sa* that *our learnin$s ta1e on -hat is ter#ed a I;tuple of #eanin$% That is *ou ha+e a +er,al! 1inesthetic! auditor*! and a +isual association to e+er*thin$% 8* noticin$ -hich of these is in the ,ac1$round! that is the su,conscious part of *our su,2ect! -hile the* are pa*in$ attention to their conscious ele#ent of the infor#ation presented! one can interrupt the pattern causin$ a need fro# the su,2ect to continue -ith so#ethin$% 0e require understandin$s! to continue our co##unication! other-ise -e

turn inside on a trancedira+ational search for #eanin$% <urin$ this search the operator can input an*thin$ that see#s so#e-hat sensi,le and the su,consiuos accepts it due to the need for understandin$% E/a#ple% =ou as1 a child to c1ose her e*es and ,e$in to -atch her fa+orite sho- fro# ,e$innin$ to end% .s the child ,e$ins to -atch her sho-! she is consciousl* a-are of her +isual identit*% .s she is +ie-in$ *ou $entl* raise her ar# and sa*! "*our ar# -ill lo-er onl* as quic1l* as it ta1es *ou to -atch *our sho- thourl* and en2o*a,l*"% No- the child is not pa*in$ attention to her ar# ,ecause her 1inesthetics are out of her consious a-areness! so her ar# has ,eco#e catal*ptic! and her su,consious is controllin$ it due to *our direction% .s her ar# ,e$ins to lo-er *ou can stop it% This -ill cause her sho- to stop! until the #o+e#ent continues ,ecause her #e#ories require the entire I;tuple to continue% .t this point *ou -hisper so#e 1ind of direction for later -hich $oes strau$ht throu$h the the consious to the su,consious 1ind of li1e a co##ercail% Then as soon as *ou let $o of the ar# the sho- co##ences until the end% 0hat 1ind of fun can -e ha+e -ith thisN Can *ou a#a$ine the ha+ic *ou can cause -ith *our friends 1ids if *ou -erte to ,a,*sit% .n*ho- there *ou ha+e it! in a nutshell% 0hat #atters is that -hat is e/pected ,eco#es interrupted throu$h an out of consious point of a-areness! then *ou pro+ide an*thin$ reasona,le such as "that ri$ht! *ou can no- close *our e*es as *ou sit in that chair! there! and $o into a deep trance no-"% O"E57O.< There are #an* -a*s of producin$ confusion in order to depotentiate a clients conscious #ind% The handsha1e technique is a classic! disorientation is another #ethod! or one can use o+erload -ith a rapid pacin$ in+ol+ed% The induction ,elo- co#es fro# 5o$er .llen's "Scripts and Strate$ies in H*pnotherap* "olu#e II"! and a lin1 to the ,oo1 -ill ,e listed ,elo-% .n induction for those clients -ho are e/tre#el* anal*tical! ri$idl* controlled% No- I 1no- ho- difficult it can see# to so#eone -ith *our intelli$ence to reco$ni6e that it can #a1e a pleasant chan$e for #e to ha+e the pri+ile$e to -or1 -ith so#eone of *our intellectual a,ilit* E instead of so#e -ho co#e HE5E and sit in that rela/ation chair THE5E and e+en the* E -ith their e*es closed can ,e so s#all #inded E al-a*s appearin$ #ad at the -orld and ne+er $i+in$ a #o#ent for the#sel+es E to rela/ E Those are the ones -ho 2ust feel that the* ha+e no need at all to listen to -hat is said or not said E puttin$ +alues that ha+e no place E HE5E E no +alue E THE5E E as the* refuse to learn an*thin$ that -ill help the# to see the -orld in a different li$ht E that -ill allo- the# to care E that the* can care for the#sel+es E and ,e co#forta,le too E It is so co#fortin$ too %% to 1no- that *ou ha+e capacit* to use *our a,ilit* in that -a* E to learn and to accept that it can ,e such a rela/in$ e/perience

E to allo- that driftin$ into a trance to occur E -ithout concernin$ *ourself E as *ou tr* to ,e a-are of al that is said E the e/act #eanin$ of all the -ords E and of all those e+ents that occur in *our o-n thou$hts E or a-areness E =ou can 1no- too that *ou can choose E to for$e to choose to pa* that attention to all that happens E HE5E in *our e/perience or not E THE5E or -hat chan$es E or sta*s the sa#e E and -hat a,out that #an -ho set out to tra+el to a place -here he needed to ,eN E He 1ne- that he had ,een told the ri$ht -a* to $o E 1eep to the left for the first part E that's ri$ht E so eas* at first and then ta1e that turn to the ri$ht E that's ri$ht E not the left ,ecause -hat is ri$ht is to ta1e a ri$ht E then -hat is left cannot ,e ri$ht until the turn that is ne/t that is left E the turn to the left -hat -ill ,e ri$ht that ta1es hi# strai$ht to the ne/t turn that is ri$ht E and if that turn is ri$ht then he -ould ,e turnin$ left onto the ri$ht road E and then all that -as left -as to rela/ E and ,e totall* unconcerned E ,ecause all that -as left to do no- -as to continue E ri$ht E on do-n that road that -ent up the hill to the ri$ht of the -hite house on the left and then $o ri$ht and then left E to ,e a,solutel* ri$ht E It reall* can see# to ,e too #uch effort at ti#es to ,e so concerned a,out -hat is ri$ht E that can ,est ,e left to those -ho need to 1no- that -hich #a* turn out to ,e that E or perhaps so#ethin$ else entirel* E -hich could ,e ri$ht too E if that -as all that -as left E .nd I 1no- that *ou -ill ,e onl* too pleased to re#e#,er that E% -hen *ou consider that so #an* thin$s can ,e the sa#e ,ut different too E li1e one and one are t-o -hich can ,e also too E and then t-o and t-o are four E ,ut then -hat for E if not to rela/ and ,e$in to reco$ni6e that *ou reall* do not 1no- -hat is no HE5E and *es THE5E E -here to $o E to -here *ou can let $o and allo- those thin$s to occur in their o-n ti#e E as *ou let $o -hile holdin$ on to that ne- reco$nition E that -hat *ou 1no- is that -hich is E that there is nothin$ that *ou require to do or not do as *our a,ilit* allo-s *ou to ,e totall* rela/ed and co#forta,le E as *ou reco$ni6e that -hich I sa* can #ean so #an* different thin$s E It can ,e so eas* to accept all those thin$s and to ,e co#pletel* co#forta,le and rela/ed -ith all that is so ri$ht E and ,e left -ith that train of thou$ht that could allo- *ou to sta* on trac1 E and reco$ni6e that too -as not -orth the effort E that ta1es so #uch effort as *ou tr* to re#e#,er so #an* thin$s E and to understand NO need for understandin$E The conscious of *our #ind can do an*thin$ E $o an* place it -ishes to E -ithout that need at all for *ou to ,e so concerned that *our su,conscious is concerned E to her all that is i#portant to *ou E as *ou continue to listen to the sound of #* +oice that drifts do-n -ith *ou no- E into that cal# driftin$ E driftin$ of thou$hts and of e/perience too E that can $o so slo- so quic1l* no- E as that rela/ation that is *ours ,eco#es #ore and #ore E as *ou can allo- the su,conscious of *our #ind to ta1e too E the responsi,ilit* for $uidin$ *our thou$hts and *our e/perience into a quiet cal#ness that follo-s E -hen drea#s can ,e turnin$ -ithin E as the -heel turns and the -orld turns E all on its o-n E nothin$ at all for *ou to do E or ,e concerned -ith at all as *ou drift effortlessl* do-n into that driftin$ place -here nothin$ is left E ,ut onl* -hat is ri$ht for *ou E to -here *our o-n inner #ind -aits too -ith those -isdo#s that are *ours and those thin$s needed too%

THE M.?IC NUM8E5 KO& Short;ter# #e#or* 3STM4 is li#ited in the nu#,er of ite#s it can hold% The s#all capacit* of STM -as pointed out ,* ?eor$e Miller in a fa#ous paper called "The Ma$ical Nu#,er Se+en! lus or Minus T-o> So#e 7i#its on Our Capacit* for rocessin$ Infor#ation"% Miller noticed that people could recall onl* a,out se+en ite#s in tas1s that required the# to re#e#,er unfa#iliar #aterial% The co##on thread in these tas1s! Miller ar$ued! -as that the* required the use of STM% 0hen short;ter# #e#or* is filled to capacit*! the insertion of ne- infor#ation often displaces so#e of the infor#ation currentl* stored in STM% For e/a#ple! if -e are #e#ori6in$ a ten;ite# list of ,asic che#ical ele#ents! the ei$hth! ninth! and tenth ite#s on the list -ill ,e$in to ",u#p out" earlier ite#s% Si#ilarl*! if -e are recitin$ the phone nu#,er of a pi66a parlor -e're a,out to call -hen so#eone as1s! "Ho- #uch is this pi66a $oin$ to costN" our retrie+al of the cost infor#ation into STM #a* 1noc1 part of the phone nu#,er fro# our STM% 0e can increase the capacit* of short;ter# #e#or* ,* co#,inin$ sti#uli into lar$er! possi,l* hi$her;order! units called chun1s% . chun1 is a $roup of fa#iliar sti#uli stored as a sin$le unit% The effect of chun1in$ can ,e de#onstrated ,* as1in$ so#eone to recall a sequence of C& letters $rouped in the follo-in$ -a*> F8 P IT0 P .C P I.I8 P M .s *ou read the letters aloud! pause at the h*phens% Our su,2ect -ill pro,a,l* atte#pt to re#e#,er each letter separatel* ,ecause there are no o,+ious $roups or chun1s% 8ut a strin$ of C& letters is too lon$ for STM! so errors are li1el*% No- -e #a* present the sa#e strin$ of letters to another person! placin$ the pauses in the follo-in$ locations> F8I P T0. P CI. P I8M The letters no- for# four fa#iliar chun1s that should occup* onl* four slots in short; ter# #e#or*! resultin$ in successful recall% The h*pnotist can use this 1no-led$e ,* creatin$ an o+erload i%e% ,* offerin$ a person #ore pieces of infor#ation than the person can process consciousl*! or ,* en$a$in$ a person in #ore tas1s than the person can process consciousl*% .s this state creates a tension andGor confusion! the person is open to follo- su$$estions offerin$ a -a* out of the situation% Thus! the h*pnotist can lead a person easil* into a trance% One -a* of creatin$ an o+erload is ,* en$a$in$ the person in acti+ities that utili6e all representational s*ste#s at once -hile at the sa#e ti#e usin$ each s*ste# in an acti+it* unrelated to the others% .nother -a* of creatin$ an o+erload is ,* ha+in$ t-o people co##unicate different #essa$es into each ear of the person% There -ill ,e #ore on this #ethod of induction "<ou,le Induction" another ti#e if the panel has interest%

SE"EN 7US O5 MINUS T0O ; ,* Terence 0atts Use this induction -ith anal*tical or intellectuall* orientated clients% It contains ele#ents of confusion and since it is al#ost i#possi,le to resist! it -or1s particularl* -ell -ith those -ho tend to find 'nor#al' rela/ation inductions unco#forta,le% Use a 'standard' preparation to ,e$in% .ll ri$ht! 2ust allo- *ourself to ,e as la6* as *ou -ant to ,e%%% listenin$ quietl* to the sound of #* +oice%%% and -hile *ou're listenin$ quietl* to the sound of #* +oice concentratin$ for a fe- #o#ents on *our ,reathin$%%% ,reathin$ slo-l* and steadil*! 2ust as thou$h *ou -ere sound asleep! or pretendin$ to ,e sound asleep%%% and i#a$inin$! perhaps! 2ust ho- co#forta,le *ou #i$ht loo1 -hile *ou're rela/in$ there in the chair%%% usin$ the po-er of *our #ind to see *ourself in *our #ind's e*e%%% and then usin$ the po-er of *our #ind to do -hate+er has to happen to #a1e *ou loo1 e+en #ore rela/ed%%% and still thin1in$ a,out *our ,reathin$! #a1in$ quite sure that each ,reath in lasts the sa#e len$th of ti#e as the last ,reath in%%% and each ,reath out-ards lasts the sa#e len$th of ti#e as the last ,reath out%%% e+en thou$h each ,reath in -ill pro,a,l* ,e sli$htl* shorter than each ,reath out%%% and -hile *ou're thin1in$ a,out *our ,reathin$! noticin$! perhaps! the -ei$ht of *our head a$ainst the ,ac1 of the chair%%% and still listenin$ quietl* to the sound of #* +oice%%% .nd -hile *ou're listenin$ quietl* to the sound of #* +oice! it #a*,e that *ou'll ,eco#e a-are that *ou'+e for$otten to thin1 a,out *our ,reathin$%%% ,ut that's all ri$ht! *ou can 2ust si#pl* start thin1in$ a,out *our ,reathin$ a$ain -hile *ou're listenin$ quietl* to the sound of #* +oice and -hat I'# sa*in$ to *ou here%%% and in ps*cholo$*! there's a rule called%%% se+en plus or #inus t-o%%% and that #eans that #ost people can thin1 of se+en thin$s all at once%%% plus or #inus t-o%%% so *ou should ,e a,le to thin1 of at least fi+e thin$s all at the sa#e ti#e%%% the sound of #* +oice%%% the steadiness of *our ,reathin$%%% the -ei$ht of *our head a$ainst the ,ac1 of the chair%%% and ho- *ou #i$ht loo1 fro# the outside%%% and that's four thin$s%%% so *ou can thin1 of those four thin$s -hile *ou're listenin$ to the sound of the #usic I'# pla*in$ in the ,ac1$round%%% so that's fi+e thin$s! no-%%% and I -onder if *ou can thin1 a,out those fi+e thin$s and then at the sa#e ti#e notice the -a* *our feet feel on the footrest of the chair%%% and perhaps ho- *our ar#s feel%%% and that's se+en thin$s no-%%% the sound of #* +oice%%% the -ei$ht of *our head a$ainst the ,ac1 of the chair%%% the #usic pla*in$ in the ,ac1$round%%% the* -a* *ou loo1 -hile *ou're rela/in$%%% and *our ,reathin$%%% and *our ar#s%%% and *our feet on the footrest%%% and I -onder if *ou can noadd an ei$hth thin$ into all of that%%% I -onder if *our #ind is po-erful enou$h to thin1 of se+en plus one thin$s%%% addin$ in! perhaps! an a-areness of the te#perature of the roo#%%% and then 2ust testin$ to see -hether *ou can add *et another input to *our senses%%% so that *ou're thin1in$ of NINE thin$s all at once%%% that's se+en plus t-o%%% thin1in$ a,out all those ei$ht inputs to *our senses and then #a*,e addin$ an a-areness of the -a* *our e*es feel -hile *ou're thin1in$ a,out all those other thin$s%%% the -ei$ht of *our head%%% *our ,reathin$%%% the #usic in the ,ac1$round%%% ho- *ou loo1 fro# the outside%%% the te#perature of the roo#%%% *our feet on the footrest%%% *our ar#s%%% the sound

of #* +oice%%% and ho- *our e*es feel%%% The -ei$ht of *our head%%% *our ,reathin$%%% the #usic in the ,ac1$round%%% ho- *ou loo1 fro# the outside%%% the te#perature of the roo#%%% *our feet on the footrest%%% *our ar#s%%% the sound of #* +oice%%% and ho- *our e*es feel%%% and of course! -hen an*,od* thin1s of all these thin$s! -hat the* are reall* doin$ is scannin$ round the# one after the other%%% +er* quic1l*%%% so quic1l*! it feels as if *ou're thin1in$ of the# all at once%%% and in the -orld of co#puters! that -ould ,e called ti#esharin$%%% sharin$ *our a+aila,le resources ,et-een the different tas1s *ou are atte#ptin$ to perfor# all at once%%% and that's -h* so#e people can thin1 of onl* fi+e thin$s%%% ,ecause it's the li#it of their #e#or*%%% -hile others can actuall* thin1 of nine thin$s%%% and I -onder ho- -ell *our #e#or* is -or1in$ as *ou stru$$le to re#e#,er those nine thin$s%%% the -ei$ht of *our head%%% *our ,reathin$%%% the #usic in the ,ac1$round%%% ho- *ou loo1 fro# the outside%%% the te#perature of the roo#%%% *our feet on the footrest%%% *our ar#s%%% the sound of #* +oice%%% and ho- *our e*es feel%%% .nd no- *ou can thin1 ho- $ood it -ill feel%%%-hen *ou si#pl* allo- *ourself to thin1 of onl* the #ost i#portant thin$ of all%%%concentratin$ all *our ener$ies onto that one #ost i#portant thin$ of all%%%-hich is $oin$ to ,e so eas* to thin1 of! no- that *ou are $oin$ to allo- *ourself to thin1 of onl* one thin$ instead of nine%%% and that one thin$ is ho- $ood it feels to thin1 of onl* one thin$%%% thin1in$ ho- rela/ed *ou can ,e no-%%% that *ou're onl* thin1in$ of ho- rela/ed *ou #i$ht li1e to ,e%%% rela/in$ in *our #ind%%% and in *our ,od*%%% no need to thin1 an*thin$ at all! reall*%%% no need to do an*thin$%%% no,od* -antin$ an*thin$ and no,od* e/pectin$ an*thin$%%% and a,solutel* nothin$ -hatsoe+er for *ou to do e/cept to%%% rela/% 7oo1s li1e a $ood one <ar*l% I -onder if an*one has thou$ht alon$ the line of interspersed #ar1ed -ordin$ for hand le+itation -ith such a script% I thin1 it #i$ht ,e a nice touch% That -a* the anal*tical t*pe of thin1er one #i$ht use such a script on -ould ,e a,le to pro+ide a de#onstration as to -hen the* reall* are $i+in$ -a* to their unconscious% Bust a thou$ht for so#ethin$ to pla* -ith% The one thin$ a h*pnotist has to 1eep in #ind -ith such a script is that heGshe has to pa* attention to the listener! and loo1 for si$ns of trance! or at least the lac1 of si$ns% If *our su,2ect $oes do-n quic1l* an* addition of confusion -ill tend to li$hten the trance ,ecause *our su,2ect is *earnin$ for so#ethin$ to $rasp! *et if the person has decided to follo- and isn't quite there *et once *ou $et close to the end! so#e further confusion -ill ,e required! so the h*pnotist -ill ha+e to ,e adapta,le -ith his -or1% Ha+e *ou pla*ed -ith this induction *ourselfN Q Ha+e *ou pla*ed -ith this induction *ourselfN =es Fran1! I ha+e i#pro+ised #* -a* throu$h it and it -or1s li1e a char#% I#portant to ha+e a "cheat sheet" list of ) thin$s *ou -ant the# to re#e#,er other-ise *ou can lose trac1 *ourself ,ecause! as *ou point out! *ou are #onitorin$ #an* thin$s at the sa#e ti#e% Their conscious #ind 2ust $i+es up in the end and the* find thin1in$ of "one" thin$

such a relief! the* 2ust slide into a deep trance% Ho-e+er *ou ha+e to ,e selecti+e a,out -ho *ou use it on as it can ,e a stressfull e/perience for so#e clients and can ,e counter producti+e%