What is this?

1. What is this? What is it made of? Why? What could this have to do with this workshop?

3. Whatdoesthetheorysay? What does the theory say?

4. “Images are what the mind is actually made of….an essential condition for mind “is the ability to display images internally and to order these images in a process called thought” (Damasio 1994:89-90) “Language is a translation of something else, a conversion from non-linguistic images which stand for entities, events, relationships and inferences…..and imagery can help us to reconstruct in the present what we experienced and learned in the past” (Damasio 2000:107)

5. “an exchange of words is communicative only when it causes some modification of the images in the hearer’s mind. (Stevick 1986:16) “Images are essential for us to get meaning out of language, to construct meaning from text and it has even been said that “those who cannot imagine, cannot read” (Eisner 1992:125)

6. “ An important component of motivation is personal meaning and one of the most demotivating factors for learners is when they have to learn something that they cannot see the point of because it has no seeming relevance to their lives. Images, however, are always related to personal meaning , as they come from within us as we read or listen” (Dörnyei 2001:63)

7. How does this apply to our

8. Activity

9. Experiment……..

15. Christmas is about contrasts The warm and the cold Spirituality and consumerism The union of family and friends And the loneliness of some people The illusion of childhood And the missing of those gone The news about wars whose intentions were peace The capacity to bring us for a few days To reflect on our lives Christmas is a special time all of its own Fátima The cold it’s outside In the house, our fire The trees are full of snow And under my tree: the show I wish I had you all here During the whole New Year Wanda Christmas is time for missing Who is not here anymore Time for remembering good memories And time for wishing the best To those you really love Mavi

16. Activity

17. Grow the structure…… • Location • Time of the year • Weather • Characters • Main Event • Character’s experience and feelings • Smell • Touch • Hear • Close/ending • Title for your film

18. Grow the structure…… • Location • Time of the year • Weather • Characters • Main Event • Character’s experience and feelings • Smell • Touch • Hear • Close/ending • Title for your film

19. Activity

20. But o’ howbitter a thingitisto look intohappinessthroughanotherman’seyes Shakespeare – As YouLikeIt

21. “I’m stuck with no way out”

22. Howabout…… If I wereYou I would…… Haveyoutried…? Youshould….

23. “Effectivecoaching in theworkplaceholds a mirror up forclients, so they can seetheirownthinkingprocess. As a coach, I’mnotlisteningforthecontent of whatisbeingsaid as much as I’mlisteningtothewaythey are thinking, includinghowtheirattentionisfocused and howthey define thekeyelements of thesituation”. (Gallway – TheInnerGame) Source – Coaching – Amanda Vickers and Steve Bavister

24. CLIENT: “I’m stuck with no way out” THERAPIST: “Have you got the determination to walk away? • Implies the solution for the client is to be away from their current situation • Imposes determination as the resource required • Assumes the client will “walk away” (rather than leaping, soaring, melting, evaporating etc)

25. CLIENT: “I’m stuck with no way out” THERAPIST: “What would happen if you could find a way out?” • Cleaner language – uses client’s words • But embedded command “find a way out” • “finding” has imposed the therapist’s model of the world on the client • No recognition of “stuckness”, invalidating client’s current reality

26. CLIENT: “I’m stuck with no way out” CLQ: “and what kind of stuck with no way out is that stuck with no way out?” CLIENT A “My whole body feels it’s sinking into the ground” CLIENT B “I can’t see the way forward, it’s all foggy” CLIENT C “Every door that was opened to me is closed”

27. “And as imagination bodies forthThe forms of things unkown, the poet’s penTurns them into shapes, and gives to airy nothingA local habitation and a name”Shakespeare: A Midsummer Night’s Dream

28. Therapist works with the client’s metaphor And only assumes that to be stuck is to be stuck somewhere • If in rapport with the client, these questions make sense and client’s responses have a quality of deep introspection and self-discovery • Process ultimately accesses conflicts, paradoxes, double binds and other holding patterns which have kept systems repeating over

29. Source: www.cleanlanguage.co.uk (David Grove) SYNTAX UNIQUE DELIVERY METHOD MINIMUM OF PRESUPPOSITION “The LESS I attempted to change the client’s model of the world, the MORE they experienced their own core patterns and organic, lasting changes naturally emerged from the system” NLP STRUCTURE CL CONTENT

30. “Trying fails, awareness cures”Timothy Gallway (2000) P=p-i Performance = potential-inference

31. When we find ourselves at impasse, we all begin to tell a story that explains our sense of being stuck or lost. We come bearinginformationaboutourselvesthatis pre-cognition, pre-language and pre-story – itisthatinformationweneednext, a feltsenseor “theimplicit” (Eugene Gendlin) (Source: GettingUnstuck – Timothy Butler)

32. In order to take hold of “the implicit” we must develop it into the next level of awareness: it must become IMAGE Itisthefirstglimpse of a part of ourrealitythatisjustbeyondourreach. Any real visionthat can lead us forward can onlybebuiltupon and firstexperiencedthoroughimages. (Source: GettingUnstuck – Timothy Butler)

33. Remembering by metaphor is an ingenious technique that allows us to remedy our weaknesses by capitalising our strengths, using things that we can visualise, to think, talk and reason about things we can’t.(Source: Stumbling on Happiness – Daniel Gilbert) These images are preverbal messages, aspects of self-awareness that have not yet been processed through the language centres of the brain. Letting an image work in your body is a way of “knowing with your bones”

34. “despair of wanting to be another self” Soren Kierkgaard Crisis is the crucible for the work of making a larger self. (Source: Timothy Butler)

35. “the question is no longer whether or not mental imagery facilitates learning but rather how it can best be used to produce the optimum facilitation” (Alesandrini 1985:207)

36. Imagery work can contribute to the following: • Increase learner’s cognitive skills and creativity • Work with and help to develop almost all of multiple intelligences, most esp.intrapersonal I. • Improve reading and listening comprehension • Provide things they want to say when they speak or write • Enable them to remember better what they have learned (using multi-sensory dimension) • Enhance motivation – (stretched, not overwhelmed – stimulus is from own resources and experience) • Strengthen their self-concept • Help to focus their attention

37. “Imagery work makes our learners protagonists of their learning process”. (Source: Imagine That)

39. If we, in our zeal to be “humanistic”, become too learner centered with regard to control, we undermine the learner’s most basic need, which is for security

40. “The preservation of the “self-image” is the first law of psychological survival…this means that the stakes in any social encounter are incredibly high” (Stevick: A way and Ways)

41. To become “an object of primary value in a world of meaningful action” (Ernest Beker), the student’s place is in the centre of a space which the TT has structured, with room left for him to grow into” (Stevick)

42. “Weshouldnotconfuseknowledge, no matterhowsubtle, withlife. Wemustalwaysstepintolife, intowhatisnextforus, righthere and now” (Timothy Butler – GettingUnstuck)

43. Therichestsources of exploitableambuiguity are notwords, sentencesorshapes, buttheintricate, variegated, multi-dimensional experiences of whicheveryhumanlifeis a collage (Daniel Gilbert)

44. If a picture paints a thousand words… thenwhycan’t I paintyou?.........