1. Chapter I Introduction to the Stuttering Matrix & States of Mind p. 20

2. The Stuttering Matrix How does stuttering/ blocking happen? How does the brain learn to block/ stutter in certain situations and not in others? What structural components of the brain function in order to create blocking/ stuttering? How do the structural components of the brain function together in order to create blocking/ stuttering? p. 30

3. The “Matrix” Michael utilizes this term from “mathematics” and the movie by that name. Root of the term – “womb” It is a great metaphor for how the brain works. We use the term to summarize the vast numbers of “mental frames” or thinking patterns that operate primarily unconsciously. p. 30

4. 1. We begin with Meaning which is the determinant of: 2) Your concept of your Self. 3) How you understand your Resourcefulness. 4) Your relationship with Time. 5) Your relationship with Others. 6) Your view of the World you live in. 7) Your understanding of your higher Purpose and Intentions. p. 30

5. p. 31 Figure 1:1 The Matrix Circle.

6. Figure 1:2 Paschal Gambardella, Ph.D. p. 32

7. Figure 1:3 It all begins with a “State.” p. 33

8. We live in these states. They govern our perception, communication, behavior, memory and learning. Thus, they color our lives by determining how we respond to and live in our world. Our frames of meaning determine our states. p. 33

9. The invisible becomes visible This training is about how to make these unconscious frames come out in the open and be visible. We will learn that we have enumerable frames embedded within frames of meaning. The Matrix Model will assist us in separating out these frames of meaning. p. 34

10. Creating Meaning with Movies States of Mind drive behavior. In blocking you have states of mind composed of fear and anxiety? But in fluency you have states of mind composed of calmness, focus on what you are saying (instead of how you are saying), relaxation, enjoyment, etc. p. 35

11. Some Questions What kind of movies do you create in your head when your are blocking? Movies of fear? Embarrassment? Anxiety? Depression? Shame? What kind of movie do you create in order to be fluent? What are the differences between the two? p. 35f

12. Figure 1:4 p. 37

13. Further Distinctions of Movie Inside the movie we find further distinctions. This structural truth may have major implications for being resourceful. Do you make your pictures big, bright, in full color, up close? Do you see yourself in or out of your unresourceful movie? Resourceful? p. 38

14. Associating/ Dissociating Associating – when you recall the movie you do not see yourself in it. Dissociating – when you recall the movie you see yourself in it. Associating tends to intensify emotion. Dissociating tends to remove emotion but not always. p. 38

15. Movie Qualities We not only associate/dissociate inside our movies, we have other distinctions as well. In NLP these are called “submodalities.” We all them qualities of the movie. These qualities distinguish the modalities (VAK) and give our brain specific distinctions for how to feel and respond. p. 38f

16. Table 1:1 Qualities Visual Brightness Focus Color Size Distance Location Associated/ Dissociated Kinesthetic Location Pressure Temperature Shape Auditory Pitch Continuous/ Interrupted Associated/Dissociated Tempo Volume Rhythm Duration Distance Location Clarity p. 39

17. Movie Qualities are Abstractions One can find nerve cells and even identify the neuro-transmitters. But, can one find a picture, a feeling, a sound, a smell or a taste? No! Neither can one find a word or words. This means, they only have the meaning we give them. This means they are absent until we think them.

18. Exercise: Editing Your Movies 1. “B” imagine two experiences: one resourceful and the other unresourceful. 2. “B” will create a picture of each. 3. “A” will elicit the visual qualities of each. 4. “B” will change unresourceful to resourceful using these qualities. 5. “B” may wish to do further editing of new image. p. 40

19. Foreground/ Background In every picture, image, and movie that we are seeing, some things are in the foreground and others in background. When we foreground problems – they become bigger and more problematic. When we foreground resources – we become more skilled, competent and bold. pp. 40-41

20. Figure 1:5 p. 41 In order to see the young girl, the old woman must go in the background. In order to see the old woman, the young girl must to go in the background

21. Exercise: Foreground/Background 1. Detect the foreground/background structure. 2. Become aware of your own foreground/ background patterns. 3. Decide to take charge of switching the images. 4. Commit yourself to foregrounding resources. 5. Swish the background to the foreground. pp. 43-44

22. Language – Words about the Movie Figure 1:6 p. 45

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

24. Getting “Out” of the Negative State – I have to make that phone call and order that book. I blocked the last time I called that salesman. He does remind me of my dad. I was afraid of my dad. But, wait a minute. He isn’t my dad. And, I am a grown adult. I don’t have to worry about being called stupid by my dad. Goodness, dad doesn’t even live in this town. How foolish of me to act as if I am a child. That person isn’t my dad. I know how to speak without holding back. I don’t block when I talk to my dog. I know what I will do. If I start to get anxious when I talk to him, I will just picture him as my dog. Hey, that just might work.