In my notes one commonly finds I mention mnemonics as I discuss access to various focus-levels. Mnemonics are derived from the TMI technique of using pick-codes. The pick-code is a bookmark to a focus-level location so to speak. I think it is first introduced in the Lifelines course if I recall correctly. It is briefly instructed in principal but not strongly emphasized as a TMI practice. I adapted the method for my own use and refer to my identifiers as mnemonics. Simply this pick-code or mnemonic is an imaginary image that is associated with some state or state-object through practice and later recalled to invoke its connection.
In my hemi-sync training I specifically focused on creating visual imaginary images that, through practice, would cue my entrance to specific focus-level states. I did this methodically so that I could reproduce at will access to the associated focus-levels. To this day I am strictly consistent with my mnemonics.
For example my mnemonic for focus 42 is an imaginary image of my name written cursive w/ the number 42 below that. My mnemonic for focus 21 is a tall wrought-iron bar with my initials hanging on a tiny plaque and the letters F21 hanging on another plaque. The choice of image is arbitrary. One just needs to be consistent in building the associations. As an aside for focus 10 I have a series of images for invoking that state. The series of mnemonics allows a step-wise approach to achieving focus 10’s Body-Asleep/Mind-Awake state.
Since we’re talking about creating and training mnemonics this is a good place to digress. For focus 10 I have an elaborated step-wise mnemonic as just mentioned. To invoke this mnemonic I first envision a post in the ground with the number 10 on it. Then I push this post into the ground. Next I proceed to envision the front wheel on an old car. I studied the wheel. From there I examine the fender, front bumper, front grill and finally I see the number 10 written in cursive on the top of a chrome radiation. When I got that I look up at a hood ornament. It has the shape of the number 10. This is the execution of that mnemonic and then I’m in F10.
Now going a bit further in the training, first note F10 hemi-sync is encoded to put your body to sleep while keeping your mind away. Hemi-sync does this. To enhance that for non-hemisync sessions, use some F10 track and practice developing a deep relaxation. One can envision a short staircase say it’s three steps tall. Get relaxed. See yourself at the top of the stars. To relax your body further, relax your hands and face. Focus on that. Are you relaxed? Then feel the back of your head, the back of your shoulders, the small of your back all the way down to your feet as you rest on your bed. Are you even more relaxed? Now run through your F10 mnemonic. You want to memorize this state of relaxation and associate it with your mnemonic. During the track one can repeat this loop of exercises, or any relaxation exercise you like. When you are more deeply relaxed, move yourself down a step on your imaginary staircase. Repeat your mnemonic. Keep repeating this process until you are at the bottom of the stairs. Utilizing the whole hemi-sync session focused on this deeper relaxed state and it’s association with your visual mnemonic. You can practice this as much as you need.
Continuing with the original discussion, I found I was able to access the focus-levels without hemi-sync by invoking these visual bookmark images in my meditations after about 100 hrs of hemi-sync training, but it took about 400 hours of hemi-sync training for me to do this well. Once I visually produce the mnemonic I’m starting to connect to the respective level. It generally takes some effort for me to produce a mnemonic image in my mind’s eye so there is some effort in initializing the shift.
Often the purpose of my meditation session is solely the practice of reinforcing these mnemonics. That is I will load up some hemi-sync take-home CD1 and go practice the mnemonic associations, shifting thru many focus-levels. To anyone starting out with hemi-sync I strongly recommend this practice. Meditating without hemi-sync is what I call a manual mediation. It is not uncommon for my manual meditations to be more powerful then with hemi-sync and in the manual meditations I’m not constrained by the time limit of a hemi-sync track.
Another one of my practices is what I call working on the blank slate. I practice this in all levels. In this type of practice meditation I work to achieve a calm settled mind in some focus-level and then I observe and critique all thoughts, images, whatever is arriving at my mind’s eye in that level. In this way I practice policing all front-loads, memory-loads, and other thoughts. In this exercise I’m not seeking peace, some tranquil meditative state, nor Nirvana. I seek only to discern and weeding out all my own thoughts. My goal is to achieve and control a pure objective observational stance of my mind’s eye. This becomes a basic skill and is my default poise of mind in all focus-levels.
It is very important to recognize that everything one encounters is not necessarily authentic or valid. One may fall prey to fantasy experiences resulting from stuff they learned from the Internet, read in some book, seen on TV, or just heard from someone else – such as an TMI instructor.
These front-loads may be random. They can be motivated by a strong desire to have some experience – any experience. In a focus-level one may be very susceptible to suggestion – from anywhere. If one doesn’t get to know the noisy garbage in their own mind they may not discern the validity of their own experiences.
Another meditation exercise: Feel the Stones
- My training hemi-sync tracks are edited versions of TMI course take-home hemi-sync CDs; full-strength hemi-sync. In the edited tracks I may only be in a particular level 10 minutes or so and then shift to the next level. In this manner I practice shifting from F10 thru F42+ thus reinforcing the associated mnemonics. In such exercises I’m practicing the shifts between states with no other intention. TMI allows one to create such tracks (in Garage Band for example) for personal use; one cannot distribute their homemade tracks. ↩