[ Pobierz całość w formacie PDF ]
.From this perspective the selfand the mind is conceptualized as fluid, as constructed and reconstructed in the course ofrelationships through evocations of past identifications and introjections of new ones.Thistheatre of the mind concept accepts the possibility of sub-selves dissociated or split offfrom one another that are evoked to some extent by situations and especially byparticular relationships.This model of the mind suggests that perhaps social interaction is like being in a hall ofmirrors.We identify with people and their voices automatically, their ways of being, andwe project, transfer and introject ideas, emotions and states of mind into ourselves andeach other.We reflect and re-reflect each other with images that are variably distorted.For example you must have had the experience of tensing your body in sympathy with agymnast on the television or becoming so emotionally involved with an action hero in afilm that you've become physically aroused by a fight scene (not in a sexual way, but justthrough this mysterious cross-over of emotions).It's an unconscious process, quite distinctfrom imitation.It has been argued that this relational aspect of the mind, this mirroringfunction, is what underlies empathy (and could be what malfunctions in people who haveschizophrenia).If you are free of neuroses, it is possible to use this faculty to detect hidden messages thatare transmitted and received unconsciously concerning an individuals state of mind, theirneeds and their selfhood.This is exactly what Freudian and post-Freudian psychoanalystsdo in the consulting room.Thanks to their training they are attuned to these unconsciouscommunications.But while they can detect them, they don't get caught up in them, orreact to them or become overly emotionally involved.(Now.I've been through extensive therapy, and ever since.) I've been working ondeveloping this skill.Now, I'm going to try and mirror you, your body language and in turn,your thoughts.Afterthought: You might want to be careful when using this presentation that you don'tinitiate a conversation on a topic which you don't know much about.Psychodynamics is acomplicated set of ideas and it would be easy to 'paint yourself into a corner' and get'caught with your pants down'.In other words, being exposed as a novice in the subjectwould be quite likely if somebody asked a question about this presentation.I'm no expertmyself, but feel confident enough to talk fairly fluently about psychodynamics andpsychoanalysis in fact nothing would make me happier but then I've studied it.If youhaven't studied it.you may wish to use the above opening only if you are strolling ortable-hopping, or for your final presentation.If you want to learn more.IntroducingPsychoanalysis" by Ivan Ward and Oscar Zarate is cheap, great fun and might be a goodplace to start.Oh yeah, and the bit in the presentation that says "(and could be what malfunctions inpeople who have schizophrenia)" is a bit heavy and probably shouldn't be used.Anaudience may well know and love somebody given that diagnosis and 'schizophrenia' issuch a frightening word.But I included that bit for the sake of completeness._______________________________________A Three-phase card trick && none of which are mine.Phase 1The psychological Stop Trick as described by Jean Hugard in The Royal Road to CardMagic.I've been performing this for years and it's one of my favourite tricks.Phase 2Having located the participant's card, the mate of that card is culled to either the top of thebottom of the deck, while the participant is gob-smacked.Ian Rowland's impromtu ACAANfrom his Blackpool 2007 lecture notes is then performed.This produces two matesPhase 3Again, in the confusion, the other two cards that would be required to produce four of akind are culled to the top/bottom of the deck.They are then shuffled into position for KarlFulves Gemini Twins.This produces a nice four of a kind to finish the presentation.Afterthought: I must confess.I've never actually done these three effects together asone seamless presentation.Frankly, I'm always so pleased and relieved when thepsychological stop trick works (which, in my experience, is about 80% of the time) that Icompletely forget to, and stop right there.Still, hopefully somebody out there can keeptheir mind focused on doing something bigger and better and actually pull this one off.Intheory it is sound.I might even manage to do it myself one day._______________________________________A Mad ExplanationThe following is based on information published in the book Madness Explained byRichard P.Bentall, published by Penguin Books.This is an  out.Suppose you are questioned on how you do your mindreading.Well, if you are aware of the below, you can then legitimately claim to be lookingfor movements of the chin, lips and throat for subvocalization without feeling guilty andkeeping a straight face.And you can offer the below as an explanation  henceeliminating suspicion and looking fairly clever, both at the same time.Anyway.People who hear voices & they subvocalize.In other words, there is micro-activation in the muscles of the vocal apparatus (lips,tongue, larynx and jaw) of people who experience auditory hallucinations.The onset ofthis increased activity in the speech muscles coincides almost exactly with patients'experiences of hearing voices (the micro-activation comes first, and then shortly after, thepatient reports hearing voices).The duration and amplitude of the electrical activitymatches the duration and the loudness of the patients' imaginary voices.The greater theactivity detected in his or her muscles, the louder the voice as perceived by thehallucinator.Amazingly it is possible to record, amplify and play back these auditory hallucinations.Using sophisticated equipment  essentially sensitive microphones  the hallucinatedvoice can be heard by external observers.It is even possible to play back the'hallucination' to the patient in real-time on-line, as it happens, so to speak.If you dothis, for some as yet unknown reason, the person starts to vocalize what he or she ishearing, until both sides of the dialogue between the patient and his or her voice can beclearly heard without using the special equipment.Subvocalization is something that we all do when we use inner speech.We use our innervoices (and hence subvocalize) in situations when we are engaged in tasks that requiretalking to ourselves silently such as contemplating moral dilemmas, doing mentalarithmetic or memorizing telephone numbers.Decades of experimental psychology hasmade it clear that in such situations so-called  normal people also activate their vocalapparatus, but at an almost undetectable level [ Pobierz całość w formacie PDF ]