Chapter I

Introduction to theStuttering Matrix &

States of Mindp. 20

The Stuttering Matrix How does stuttering/ blocking happen? How does the brain learn to block/ stutter

in certain situations and not in others? What structural components of the brain

function in order to create blocking/ stuttering?

How do the structural components of the brain function together in order to create blocking/ stuttering?

p. 30

The “Matrix” Michael utilizes this term from

“mathematics” and the movie by that name. Root of the term – “womb” It is a great metaphor for how the brain

works. We use the term to summarize the vast

numbers of “mental frames” or thinking patterns that operate primarily unconsciously. p. 30

1. We begin with Meaning which is the determinant of:2) Your concept of your Self.3) How you understand your

Resourcefulness.4) Your relationship with Time.5) Your relationship with Others.6) Your view of the World you live in.7) Your understanding of your higher

Purpose and Intentions.p. 30

Meaning

Self

Power

Time Others

World

Purpose

p. 31

Figure 1:1The Matrix Circle.

Figure 1:2Paschal Gambardella, Ph.D.

Pow

er

Wor

ld

Tim

e

Self

Oth

er

Meaning

Intention

State pgc211501 p. 32

Figure 1:3It all begins with a “State.”

Stimulus

Response

Physiology

Movie

Mind

Body

A Neuro-Linguistic State

p. 33

We live in these states. They govern our perception,

communication, behavior, memory and learning.

Thus, they color our lives by determining how we respond to and live in our world.

Our frames of meaning determine our states.

p. 33

The invisible becomes visible

This training is about how to make these unconscious frames come out in the open and be visible.

We will learn that we have enumerable frames embedded within frames of meaning.

The Matrix Model will assist us in separating out these frames of meaning.

p. 34

Creating Meaning with Movies States of Mind drive behavior. In blocking you have states of mind

composed of fear and anxiety? But in fluency you have states of

mind composed of calmness, focus on what you are saying (instead of how you are saying), relaxation, enjoyment, etc.

p. 35

Some Questions What kind of movies do you create in

your head when your are blocking? Movies of fear? Embarrassment? Anxiety? Depression? Shame?

What kind of movie do you create in order to be fluent?

What are the differences between the two?

p. 35f

Figure 1:4

p. 37

Further Distinctions of Movie

Inside the movie we find further distinctions.

This structural truth may have major implications for being resourceful.

Do you make your pictures big, bright, in full color, up close?

Do you see yourself in or out of your unresourceful movie? Resourceful?

p. 38

Associating/ Dissociating Associating – when you recall the

movie you do not see yourself in it. Dissociating – when you recall the

movie you see yourself in it. Associating tends to intensify

emotion. Dissociating tends to remove

emotion but not always.p. 38

Movie Qualities We not only associate/dissociate inside

our movies, we have other distinctions as well.

In NLP these are called “submodalities.” We all them qualities of the movie. These qualities distinguish the modalities

(VAK) and give our brain specific distinctions for how to feel and respond.

p. 38f

Table 1:1 Qualities Visual

Brightness Focus Color Size Distance Location Associated/ Dissociated

Kinesthetic Location Pressure Temperature Shape

Auditory Pitch Continuous/ Interrupted Associated/Dissociated Tempo Volume Rhythm Duration Distance Location Clarity

p. 39

Movie Qualities are Abstractions

One can find nerve cells and even identify the neuro-transmitters.

But, can one find a picture, a feeling, a sound, a smell or a taste? No!

Neither can one find a word or words. This means, they only have the

meaning we give them. This means they are absent until we

think them.

Exercise: Editing Your Movies

1. “B” imagine two experiences: one resourceful and the other unresourceful.

2. “B” will create a picture of each.3. “A” will elicit the visual qualities of each.4. “B” will change unresourceful to

resourceful using these qualities.5. “B” may wish to do further editing of

new image.p. 40

Foreground/ Background In every picture, image, and movie

that we are seeing, some things are in the foreground and others in background.

When we foreground problems – they become bigger and more problematic.

When we foreground resources – we become more skilled, competent and bold.

pp. 40-41

Figure 1:5

p. 41

In order to see the young girl, the old woman must go in the background.

In order to see the old woman, the

young girl must to go in the

background

Exercise: Foreground/Background1. Detect the foreground/background

structure.2. Become aware of your own foreground/

background patterns.3. Decide to take charge of switching the

images.4. Commit yourself to foregrounding

resources.5. Swish the background to the foreground.

pp. 43-44

Language – Words about the Movie

Stimulus

Response

Movie

Mind

Body

The Creation OfA Neuro-Linguistic State

ExternalWorld

Weexperiencethe world

through ourfive senses.

We re-represent ourexperience on the screen of

our mind as a moviecontaining pictures (V),sounds (A), feelings (K)

smells (O) and tastes (G).

Language Meanings

Language Meanings

@

@

Etc.

@ We give meanings toour internal movies

with words. We don’tstop there, we keep

giving meanings aboutprevious meanings.

These languagemeanings

above the firstlevel determinethe qualities ofour movie andthe subsequent

state weexperience.

Figure 1:6p. 45

Figure 1:7 Levels of AbstractionThey determine the “Qualities” of our movies. Page 46

Getting “Out” of the Negative

State – I have to make that phone call and order that book. I blocked the last time I called that salesman. He does remind me of my dad. I was afraid of my dad. But, wait a minute. He isn’t my dad. And, I am a grown adult. I don’t have to worry about being called stupid by

my dad. Goodness, dad doesn’t even live in this town. How foolish of me to act as if I am a child. That

person isn’t my dad. I know how to speak without holding back. I don’t block when I talk to my dog. I know what I will do. If I start to get anxious when I

talk to him, I will just picture him as my dog. Hey, that just might work.