1	Chapter I Introduction to the Stuttering Matrix & States of Mind
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?
3	The “Matrix” Michael utilizes this term from “mathematics” and the movie by that name. 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.
4	1. We begin with Meaning which is the determinant of: Your concept of your Self. How you understand your Resourcefulness. Your relationship with Time. Your relationship with Others. Your view of the World you live in. Your understanding of your higher Purpose and Intentions.
5	Figure 1:1 The Matrix Circle.
6	Figure 1:2 Paschal Gambardella, Ph.D.
7	Figure 1:3 It all begins with a “State.”
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.
9	Figure 1:4 States are “invisible” at first.
10	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.
11	Figure 1:5 The Structure of Creating Meaning
12	Some Questions What kind of movies do you create in your head when your are unresourceful? Movies of fear? Embarrassment? Anxiety? Depression? Shame? What kind of movie do you create in order to be resourceful? What are the differences between the two?
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?
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.
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.
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
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 Get a partner. “B” imagine two experiences: one resourceful and the other unresourceful. “B” will create a picture of each. “A” will elicit the visual qualities of each. “B” will change unresourceful to resourceful using these qualities. “B” will detect any changes with “A’s” help. “B” may wish to do further editing of new image.
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.
20	Figure 1:6
21	Exercise: Foreground/Background Detect the foreground/background structure. Become aware of your own foreground/ background patterns. Decide to take charge of switching the images. Commit yourself to foregrounding resources. Swish the background to the foreground.
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23	Well-Formed Outcome To move from unresourceful to resourceful we must have a “want to.” This model is a practical tool for designing a “want to.” It provides an excellent tool to foreground what we want as what we don’t want goes to the background.
24	Well Formed Outcome Model State the outcome in positive terms. State the outcome in sensory terms. State your outcome in a way that is compelling. Quality control your outcome. Self-initiated and maintained. State the context of your outcome. State the resources you need for your outcome. Evidence procedure – how will you know when you have it?
25	Cartesian Coordinates