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Rid your life of unpleasant habits and negative thoughts. Enjoy responding to your environment calmly and in a balanced way and see challenges from different angles.
You will find a description here of the 6 so-called "logical levels" according to Gregory Bateson and Robert Dilts. This model is used in NLP in various places, e.g. in goal work, team development, modeling and as a classification model for personality development.
Described here are the positions of one’s own person, the interlocutor / client and the disassociated neutral observer in this conversation situation. Taking these three positions is very important for our behavioral and experiential flexibility. This model can be used very well in interpersonal conflicts.
The Fast Phobia format is one of the best-known formats in NLP. What exactly a phobia is and how the Fast Phobia format works are explained in two pages.
The neurological levels according to Gregory Bateson / Robert Dilts.
Environment: The noise in the room makes it difficult to write dictation. Anchors can easily be placed during a group exercise. "The cancer has afflicted me." Behavior: You did not spell well in this dictation. You have anchored this person. "Sometimes I just cannot keep myself healthy." Abilities: "You cannot spell well." "You are capable of Anchoring other people." "I am unable to be in good shape." Beliefs and Values: "If you cannot spell, you'll never get by in school." "Knowing how to anchor makes you an influential person." "It's a wrong attitude to want to resist the inevitable." Identity "You are stupid, a learning-disabled child." "You are a good NLP practitioner." "I am a cancer victim." Family / Affiliation: "You belong to the learning disabled, the weak-talented." "You are one of the best, the cream of NLP." "You are one of many victims of cancer who suffer the same fate as you." Adapted from: Joseph O´Connor & John Seymour, NLP: Gelungene Kommunikation und persönliche Entfaltung, Freiburg i. Breisgau 1992.
I. Part: Lead the targeted goal through the neurological levels (NL)
Environment: Where are you here? Who is with you? What do you hear? What do you see? What do you taste? What do you smell? Behavior: What are you doing here? Abilities: How do you do what you are doing? How do you relate to others here? What special skills do you have here? Beliefs and Values: What is important to you here? Why are you doing what you are doing? What do you believe in here? What motivates you? What do you think about yourself, others, your job, etc.? Identity: What kind of self-understanding do you have here? How do you see yourself, who are you? Family / Affiliation: Where do you belong? Is there here, on the professional, private, ideal, spiritual levels, something or someone or a group that you know you belong to? What task, what mission do you have? Now go still another step further. Your unconscious will send you another important piece of information at this point. It can be an idea, a picture, a symbol, a feeling or whatever. It is a special gift of your unconscious to you, for your goal. Take as much time there as you need to absorb it all in yourself.
Further reading:
In this position you are completely in your own body, looking out of your own eyes and listening through your own ears. In this position one cannot distinguish between description and evaluation.
This position is also described in NLP as a 'referential index shift'. In this process, you identify with someone else. You could say that here you perceive the world with the other’s senses. Here you have taken over the perception filters of the other person and also begin to sense the other person's physical feelings. This is one of the ways to perceive the intention behind the other's behavior. To the extent you can do that, you can dramatically improve your communication skills. This makes it possible to understand and address the other at deeper levels. This is also the basic modeling process.
This is a higher logical level. Sometimes this position is also compared to that of a film director who looks at the situation from the outside calmly, has completely opened his sensory channels and is extremely flexible. An external observer or witness. Without judgement, purely descriptive. The third position is defined as a resource state in which the senses are most available to us, we have an optimum of flexibility for processing the information from the 1st and 2nd position. This position is well suited to review a film of a difficult situation and to improve one's own behavior and / or to install a new behavioral automatism for future situations. It is very important for our behavioral and experiential flexibility that we are able to easily and suitably assume all three perceptual positions. There is a 90-minute webinar film on this topic in our online academy with our trainer Joerg-Friedrich Gampper. You can watch this immediately in full length. Just click on the "to video" button to find out more.
Sometimes it may be necessary to introduce different resource states in addition to the third position and only then return to position 1. The programmer may additionally anchor the resource state taken outside the 3rd position.
Many of the limitations and difficulties that people experience do not stem from being stuck in one of the three perceptual positions, but rather from the fact that our representational systems are distributed in different perceptual positions. This 'split' is the result of an attempt to solve a problem and sometimes becomes a permanent personal style. Integrating our perceptual positions results in increased personal congruence, allowing us to truly fully occupy all three positions and thereby take full advantage of each position, leading to greater insight and wisdom.
Visual: What exactly do you see? Do you see yourself and the other person or just the other person? Where exactly do you see this scene? From where or what perspective do you see the scene? Do you see it directly from your eyes or is your perspective slightly shifted? When the client sees himself and the others, then you can ask if the viewpoint is closer to the self or to the other. Do you see yourself and the others at eye level or lower or higher? Auditory: What do you hear? Whose voices do you hear and where do they come from? From where exactly do you hear them? Are there inner or outer commentary voices? From where exactly do you hear this voice(s)? What exactly does the commentary voice say? Pay attention to personal pronouns: He, She, They, I, Me, You, We. Kinesthetic: What exactly do you feel? Whose feelings are these? Where are the feelings localized? Are they neutral or resourceful observer feelings or are they in position 1 (self) or in position 2 (other)?
Visual: Now take a position from which you can see yourself and the others in such a way that both are at eye level and equidistant and look straight out of your eyes. Auditory: Now hear the voices of yourself and the other person directly from the place they come from and hear the voices directly through your ears as observer. Let your commentary voice come from your vocal cords. Use the personal pronouns HE, SHE in your commentary. The comments should refer to the self and the other. Kinesthetic:Let all feelings that are not observer feelings flow to where they belong. Ask your unconscious mind to let all feelings that do not belong to the observer flow to the self or the other. Support the client with auditory and visual anchors. And now you can notice how new, resourceful feelings of the observer replace the old feelings. Have your self and the other changed, gained resources? What else has changed in your perception?
This technique is one of the best known and perhaps most spectacular of NLP techniques. With this technique it is possible to eliminate phobias in minutes, often with 100% certainty and permanently.
A strong, uncontrollable and inappropriate fearful reaction. The person even knows rationally that this fear is unfounded. To be able to have a phobia, someone must be able to create dramatic images internally and he must be associated with these images. This inner movie cannot be controlled once it has started. The only way to shut it down is to turn off the external trigger, e.g. acrophobia (fear of heights), someone standing on the tower. If he is far enough away, he has no phobic reaction. Draw nearer. If a critical point is exceeded, the phobia can no longer be stopped. (e.g., mouse 50 meters away, or spider behind a glass wall). In an elevator phobia, for example, the horror usually starts only a few meters before reaching the same distance. When the phobic reaction begins, it indicates that the safe distance has been violated. What the phobist most fears is experienced as an inner film. This inner film is often unconscious and associated. The phobic response is the bodily sensation, while inside the fear movie is running. The phobic is aware of the trigger and his physical reaction, but not the inner film. It is crucial to get the inner film under control. The phobic cannot do that automatically. A non-phobic has the meta-feeling - if it gets too uncomfortable, I stop the film. I could end this movie at any moment, e.g. you lean over a railing. The inner film is an anchored reaction to the external trigger. When the anchor is fired, the inner film runs. Frequently, phobias are learned after something dramatic once happened. Example: A child plays in the garden and puts an earthworm in his mouth. At that moment, the mother comes and screams hysterically. Phobias can also be learned by observing others while being in position two, e.g. Shark phobics have never seen a shark live, but only seen "Jaws" in the cinema and has experienced the shock. A view of the sea then becomes the trigger for the fear of sharks, because that was the beginning of the film with the theme music in the background. Gradually, such fear is generalized to inland waters and swimming pools, until finally sharks are seen in the corridor. The goal now is to regain control of the inner film in Fast Phobia format. This is done by:
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