t gaiser texsom tasting seminar notes
TRANSCRIPT
Tasting Focus
Elements of Perception and Style
Tim Gaiser MS
TEXSOMAugust 12th 2013
wwwtimgaisercomblog
tgaiserearthlinknet
Todayrsquos Session
Is not exactly about tasting hellip
Itrsquos about how we think about tasting hellip
Itrsquos also about how we learn hellip
Session Focus My Tasting Project
Strategies from the Project
Exercises
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
wwwtimgaisercomblog
tgaiserearthlinknet
Todayrsquos Session
Is not exactly about tasting hellip
Itrsquos about how we think about tasting hellip
Itrsquos also about how we learn hellip
Session Focus My Tasting Project
Strategies from the Project
Exercises
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Todayrsquos Session
Is not exactly about tasting hellip
Itrsquos about how we think about tasting hellip
Itrsquos also about how we learn hellip
Session Focus My Tasting Project
Strategies from the Project
Exercises
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Is not exactly about tasting hellip
Itrsquos about how we think about tasting hellip
Itrsquos also about how we learn hellip
Session Focus My Tasting Project
Strategies from the Project
Exercises
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Itrsquos about how we think about tasting hellip
Itrsquos also about how we learn hellip
Session Focus My Tasting Project
Strategies from the Project
Exercises
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Itrsquos also about how we learn hellip
Session Focus My Tasting Project
Strategies from the Project
Exercises
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Session Focus My Tasting Project
Strategies from the Project
Exercises
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Strategies from the Project
Exercises
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercises
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Pair Up
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
A Request hellip
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Todayrsquos Wines
2010 Gunderloch Riesling ldquoRothenbergrdquo Grosses Gewaumlchs Rheinhessen
2010 John Duval ldquoPlexusrdquo Shiraz-Grenache-Mourvegravedre Barossa
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
A thought about tasting hellip
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Teaching tasting can be among the most rewarding things we do
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
It can also be among the most frustrating things we do hellip
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Why
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
There are major disconnects in learning about wine
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Wine is a liquid that smells and tastes like other things
Complexity
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Wine has no inherent vocabulary
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
We use the language of seeing hearing and feeling to describe what
we smell and taste in wine
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Our culture doesnrsquot place emphasis or value on olfactory memory
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Little if any awareness that olfactory and taste memory are
also visual experiences internally
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
An expectation that learninghow to taste wine is somehow
different from learning anything else hellip
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
The Project
Modeling Tasting Strategies of Top
Professionals
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Project Genesis
2009 Film Sessions
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Goals for the Project
bull To deconstruct internal strategies of top tasters
bull To replicate and use the best strategies in order to teach more effectively
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Goals for the Project
bull Ultimately to improve how we teach tasting
ndash Students learn to taste with more ease in a shorter period of time
ndash Students learn to taste using their own memories and internal maps
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Findings from Project Sessions
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Eye positions and patterns are vital to experienced tasters
The importance of a consistent starting place and tasting sequence
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Olfactory MemorymdashImage Connection
There is an internal visual component to smelling and
tasting wine
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Submodalities
The structure of internal images can be as important as the actual content
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Existence of Internal Image Maps
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Use of Visual Constructs as Aids for Calibrating Structural Elements
Visual confirmation for taste
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Strategies
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Part I Strategies for Beginners
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Strategy I
Creating a Consistent Starting Point
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Glassware Stance ampStarting Eye Position
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise I Glassware Stance
bull Criteria
ndashResting point
ndashGlass angle finding the sweet spot
ndashPassive vs active inhalation
Inhalation patternsangles ndash where are you smelling in the glass
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Starting Eye Position
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Importance of Eye Positionsand Patterns
Eye Accessing Cues
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Eye Accessing Cues
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Eye Accessing Cues
bull Visual memory up and to the left
bull Visual imagination up and to the right
bull Auditory memory lateral eye movements to the left
bull Auditory imagination lateral eye movements to the right
bull Internal dialogue down and to the left
bull Kinesthetic (either physical or emotional sensations) down and to the right
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Importance of Starting Eye Position
bull Consistent start to the sequence of smellingand tasting wine
bull Focus ndash shutting the world out
bull Coupled with an auditory prompt
bull Literally knowing exactly HOW to start
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Auditory Prompts
bull ldquoWhatrsquos thererdquo
bull ldquoWhat am I smellingrdquo
bull ldquoWhatrsquos in the glassrdquo
bull ldquoWhat kind of fruit (etc) is itrdquo
bull What is this on the end of my forkrdquo
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise II
Finding Your Starting Eye Position
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise
bull Start by looking down in front andor to the leftright
bull As you smell the wine move your eyes side to side slowly
bull Use your free hand to point EXACTLYwhere your eyes are looking
bull Find your zone - the place that feels the most comfortable WHILE you talk to yourself
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Tips
bull Use SOFT eyes
bull Keep smelling the wine
bull Repetition practice going to your spot multipletimes
bull Finally play around with smelling the wine and looking at horizon level and abovemdash see what happens
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Other Eye Positions and Patterns
bull Other eye positions used to access
ndash Internal imaging ldquofield rdquo for creating or comparing images (onersquos ldquoIMAX theaterrdquo)
ndashSide auditory memories about a wine
ndashUp using a tasting ldquogridrdquo as a guide
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Strategy II
Olfactory Memory and Imaging
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
The Beginnerrsquos Dilemma
ldquoBut it just smells like wine helliprdquo
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Needed Awareness
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Awareness that there is usually an internal image connected to smell
andor taste memories
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Challenge how to make the olfactory-image connection
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Concept Front Loading
Using the Basic Set to bring awareness to the imageolfactory connection
AND improve onersquos olfactory memory
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
What is the Basic Set
The 25-30 most common aromasflavors in wine
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Using the Basic Set
bull Working with words and images to
ndashMake the imageolfactory connection
ndashImprove memory of the list components
ndashUse sight and auditory to prompt personal memories
bull Multi- memory learning vs visual memory
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Using contrast with olfactory memory as a tool for learning
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Basic Set Common Fruit Aromas
bull Green apple
bull Red andor Golden Delicious apple
bull Pear
bull Lemon
bull Lime
bull Orange
bull Pineapple
bull Banana
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Common Fruit Aromas ndash Cont
bull Peach
bull Apricot
bull Black cherry
bull Blackberry
bull Sour red cherry
bull Red raspberry
bull Cranberry
bull Raisinprune
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Common Non-Fruit Aromas
bull Roses
bull Violets
bull Minteucalyptus
bull Pyrazines ndash bell pepper
bull Herbs rosemary
bull Lavender
bull Pepper white and black
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Common Non-Fruit Aromas ndash Cont
bull Vanilla
bull Cinnamon
bull Cloves
bull Toast
bull Coffee
bull Chocolate
bull Chalk
bull Mushroom amp forest floor
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Basic Set Modules
bull Module I words and images
bull Module II images
bull Module III words
bull Module IV contrastive analysis
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise III the Basic Set
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
I
Look at the image and say the word internally
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
II
Recall a time when you smelled andor tasted the
given fruit spice etc
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
III
In your mindrsquos ldquoeyerdquo reach out pick up a slice of the fruit (etc)
and take a bite of it hellip
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
IV
Make your experience of the fruit spice or other component as
complete and intense as possible down to the aromas flavors and
the texturemouthfeel
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
V
Intensify your experience of the memory by doing the following
a Make your images (or movie) largerb Make your images closerc Make the colors brighterd Make any sounds loudere Intensify any physicaltactile sensations
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise IV the Basic SetExperience the Following
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Rewind Use Your Own Memories
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Your memories of the following
bull Fruit
ndashLemon
ndashLime
ndashOrange
bull Non-Fruit
ndashRoses
ndashVanilla
ndashMushroomearth
Where are the images
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Contrastive Analysis
Trying to make something into something else hellip
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise V Contrastive Analysis
bull Use your imagesmemories of the following components
bull Try to make one image the other
bull What happens
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Lemon into mushroom
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Lime into vanilla
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Orange into rose
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Now we can begin hellip
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Findings Olfactory Image Connection
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
All project tasters represented aromasin wine with internal images or a
combination of images and words
Both still images or movies
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Images vary not only in content but structure size proximity color
brightness etc
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
There is an relationship to the intensity of the aroma and the
structure of the image
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise VI Making the Olfactory-Image Connection
ldquoSeeingrdquo whatrsquos in the glass
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Instructions
I With your partner find at least 3 aromas in the glass (or more)
II As you ID an aroma be aware of the image of it in your mindrsquos eye
III Show your partner precisely where they are in your ldquomindrsquos eyerdquo
IV Partners keep track
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Explorers Show Your Partners
- Proximity (how close or far away)- Location
- Size- Brightness
- Color vs black amp white- 2D vs 3D
- Still image vs movie
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Report
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Part II Strategies for
More Advanced Tasters
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Strategy IV The Image Map
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Tasting Maps
bull All tasters in the project formed an internal map of the images of the aromas in a given wine
bull The image maps or grids differ--sometimes radically --from person to person
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Examples of Project Taster Image Maps
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Karen MacNeil
2009 Yalumba Shiraz South Australia
No Consistent Auditory Prompt
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Evan Goldstein
2009 Yalumba Shiraz South Australia
Auditory Prompt ldquoWhat kind of fruit is itrdquo
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Tracy Kamens
2009 Joseph Leitz Riesling Erstes Gewaumlchs
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Emily WinesAuditory prompt ldquoWhatrsquos thererdquo
2008 Double Bond Pinot Noir Wolff Vineyard Edna Valley
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Peter Marks
2009 Robert Mondavi Cabernet Sauvignon Napa Valley
Auditory Prompt ldquoWhatrsquos thererdquo
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Tim Gaiser
Pattern from several wines
Auditory Prompt ldquoWhatrsquos thererdquo
Start
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Comment tasting wine is a synesthetic experience
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise VI Review Your Image Map
1 Review your previous aromasimages
2 Find more if there
3 Questions
- What happens to the images once you create them
- Do they move
- Can you find them again if you need them
4 Map image location
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Strategy V Submodalities
The Stuff of Thought and
the Fabric of Experience
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
What are Submodalities
bull Moda Greek term for the five senses
bull Modalities the inner representation of the five senses visual (V) auditory (A) kinesthetic (K) olfactory and gustatory
bull Submodalities the structural qualities that each internal modality can possess
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Common Submodalities Visual
bull Black amp white or color
bull Proximity near or far
bull Location
bull Brightness
bull Location
bull Size of image
bull Three dimensional or flat image
bull Associated Dissociated
bull Focused or Defocused
bull Framed or Unframed
bull Movie or still image
bull If a Movie-FastNormalSlow
Driver Submodality
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Auditory
bull Volume loud or soft
bull Distance near or far
bull Internal or external
bull Location
bull Stereo or mono
bull Fast or slow
bull Pitch high or low
bull Verbal or tonal
bull Rhythm
bull Clarity
bull Pauses
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Kinesthetic
bull Intensity strong or weak
bull Area large vs small
bull Weight heavy or light
bull Location
bull Texture smooth rough or other
bull Constant or intermittent
bull Temperature hot or cold
bull Size
bull Shape
bull Pressure
bull Vibration
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise VII Submodalities ndashFrom Nose to Palate
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
bull With your partner
bull Taste the wine
ndashNote how the flavors change from nose to palate ndash do the images change
ndashDoes the image structure change too
ndash Size brightness color proximity dimensionality
ndashDoes your map of the wine change as well
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise VIII Changing Submodalities
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
bull Choose one aromaflavor
bull Experiment with the following while smelling the wine
ndashSize smaller vs larger
ndashCloser vs farther away
ndashBrightness
ndashColor vs black and white
ndash2D vs 3D
bull How does each change affect the wine
bull Change one thing at a time Then Reset It
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Submodalities Check List
bull Size smaller vs larger
bull Closer vs farther away
bull Brightness
bull Color vs black and white
bull 2D vs 3D
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Strategy VI Calibrating Structure with Visual Constructs
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Tasters in the project use internal visual constructs or cues to calibrate the
structure of wine
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Structural Calibration Emily Wines
bull Uses different internal scales for structural elements
bull Acid yellow ruler about 12rdquo long with markers for low medium etc
ndash Tastes wine and then points to a mark on the ruler
bull Alcohol 24rdquo blue ruler with a ldquolevelrdquo-like bubble that moves to the appropriate mark
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Structural Calibration Emily Wines
bull Tannin piece of wool stretched out thin at one end and much thicker and larger at the other
ndashTexture combined with amount of tannin
bull Finish image of the horizon
ndashThe longer the finish the farther down the horizon can be seen
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Structural Calibration Tim Gaiser
bull All structural components calibrated with a 3-4rsquo ldquoslide rulerdquo-like device with a red button in the middle resting at ldquomediumrdquo
bull As I taste the wine the button moves until it matches the amount of acid alcohol etc Irsquom sensing on my palate
bull Internally I point to the marker on the ruler and say ldquoitrsquos medium-plusrdquo or whatever
bull If Irsquom not sure I bring the ruler in closer to me and more increments on the ruler appear
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise XI Installing Your Calibration Scale
bull With your partner
bull Create your scale use a ruler dial or whatever works best easiest ndash make it BIG
bull Locate ldquolowrdquo ldquomediumrdquo and ldquohighrdquo on the scale (also med- and med+)
bull Place calibration ldquobuttonrdquo or ldquomarkerrdquo etc at medium
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Installation Cont
bull Calibrate for acidity alcohol tannin
bull Use EXTREMES
bull Examples
ndashAcidity lemon juice for high and water for low
ndashAlcohol port for high vs Moscato di Asti for low
ndash Tannin Barolo (Fernet Branca) for high vs Nouveau Beaujolais for low
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Exercise XII calibrate the structural elements of the Terlano Lagrein
Acidity
Alcohol
Tannin
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
The Future hellip
bull Open source project
bull This presentation and the Basic Set will be available at slidesharecom link on Facebook and link in my blog
bull Experiment Have fun with it
bull Report in
bull Funding wanted hellip
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Thanks
bull To JamesandDrew
bull Richard Bandler and John Grinder for the principles behind this work
bull Tim and Kris Hallbom Robert Dilts and Suzi Smith for their superb instruction and guidance
bull Taryn Voget of the Every Day Genius Institute for her help and guidance in the DVD project
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
Project Participants
bull Karen MacNeil
bull Evan Goldstein MS
bull Tracy Kamens EdD DWS CWE
bull Emily Wines MS
bull Doug Frost MS MW
bull Peter Marks MW
bull Brian Cronin MS
bull Tim Gaiser MS
bull Sur Lucero MS
bull Thomas Price MS
bull Roland Micu MS
bull Emily Papach MS
bull Gilian Handelman
bull Yosh Han
bull Alyssa Harrad
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet
copy2013 Tim Gaiser MS
wwwtimgaisercomblog
tgaiserearthlinknet