By Richard Bandler, John Grinder
This quantity is the 1st in a sequence of reports of the styles of hypnotic options hired via Milton H. Erickson. during this first quantity, now we have centred totally on the verbal styles which Erickson makes use of in his paintings. moreover, our emphasis right here has been at the parts of his paintings facing the induction of trance and using recommendation for aiding the customer in attaining the targets of trance paintings. We intend to shift the emphasis of the furture volumes to different styles. The desk of Contents which we comprise for quantity II of styles will supply the reader a few concept of this destiny emphasis. by way of R. Bandler
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Additional info for Patterns of the Hypnotic Techniques of Milton H. Erickson, M.D., Volume 1
In all such studies, the findings were the same, the most important seeming to be the need of light and medium deep hypnotic subjects to retain at least some grasp upon external reality and to orient their trance state as a sta te apart from external reality but with the orientation to such reality, however tenuous in character, sensed as available for immediate utilization by the subject. Another item which Huxley discovered by his own efforts unguided by me and of which I was fully aware through work with other subjects, was that the phenomena of deep hypnosis can be developed in both the light and the medium trance.
Fourth, in different places in Erickson's work, he makes very effective use of melodies as part of his induction. Melodies are stored in the non-dominant hemisphere. Fifth, in the context of therapy one of the most effective techniques of assisting a client in changing his model of the world is the Guided Fantasy (see Magic I, Chapter 6, and Magic II, Part I, for a detailed presentation) in which the client is typically asked to close his eyes and visualize a particular experience which will then assist him in changing.
An endless vista of color that is soft and gentle and yielding. . , color, vista, color). Again, by allowing Huxley a maximum flexibility in having this experience, Erickson uses Huxley's resources more fully than would be possible if he (Erickson) were more directive. Huxley is here, by his use of mixed predicates, demonstrating a phenomenon often associated with creative activity - synesthesia, cross modality experiences. That these neural circuits are, in fact, available as the basis for this behavior has been established (see Magic II, Part III, and Bach-yRit work referenced in the Bibliography).