Published by KONTRAKUNDABUFFER CORP. P.O. Box 3300 Pomona, N.Y. 10970 Copyright 1983 by Robert Masters A DRAGON BOOK All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without the written permission of the Publisher, except where permitted by law. The commercial use of this book in workshops, training programs, etc., except by teachers certified or otherwise formally authorized by Robert Masters, Ph.D., is absolutely prohibited. Manufactured in the United States of America Second printing ROBERT MASTERS PSYCHOPHYSICAL METHOD EXERCISES VOLUME V A DRAGON BOOK CONTENTS Foreword 1 1) Learning Transfer #1 (Feet) 2 2) Learning Transfer #2 (Spine) 8 3) Learning Transfer #3 (Hands) 14 4) Learning Transfer #4 (Hips) 22 5) Learning Transfer #5 (Arm) 29 6) Learning Transfer #6 (Leg) 36 7) Learning Transfer #7 (Shoulders) 42 8) Learning Transfer #8 (Knees) 48 9) Learning Transfer #9 (Upper Back) 53 10) Learning Transfer #10 (Circling) 58 11) Brain Imaging 64 12) Establishing Selective Brain Control 69 13) Creating And Experiencing An Imaginal Body And Its Transformations 73 14) Making The Body With Twelve Arms (Shoulders and Spine) 80 -1- FOREWORD These volumes of Psychophysical Method exercises are being published as teaching and training manuals to be used by teachers and researchers experienced in that area of the author's work. The exercises are tran- scripts of sessions taught by him to his students and their use presupposes some knowledge of the work--timing, repetitions of movements, quality of awareness, etc. Without such a background of knowledge the exercises cannot be effectively done, much less taught. Nevertheless it is just realistic to acknowledge that these exercises are going to be used by persons who have not had what should be the requisite amount of first-hand training. An absolutely minimal background, however, would need to include careful study of the book, LISTENING TO THE BODY, co-authored by Robert Masters and Jean Houston, and further careful study and practice of audiotaped Psychophysical Method exercises. Thus anyone wishing to acquire these volumes must acquire also, at the same time, a copy of LISTENING TO THE BODY and at least half a dozen of the exercise tapes selected to cover various aspects of the work. The decision to make the volumes more generally available was made reluctantly and for two main reasons: first, as mentioned, there is no adequate way to limit their acquisition to trained teachers exclusively; second, it is of great importance that the work reach a wide audience. The risk that the work will sometimes be diluted and otherwise distorted is fully recognized and has been weighed carefully. It should also be said that it J_s possible for largely self-directed students to achieve mastery of the work. Much self-discipline, rigorous and lengthy practice and various personal qualities and perhaps gifts are required for such achievement, but it has been done by some and will be done by others. The author will always be most pleased to certify as a teacher any individual who, by her or his own efforts, achieves a proficiency equal to that demanded of those who participate in teacher training programs. Finally, acknowledgement is made to those who have been of particular importance in shaping the philosophy, psychology, and other knowledge and techniques of Psychophysical Method. These range from disciplines stressing "mindfulness" and "awareness"--Egyptian, Buddhist, Taoist--on to such modern and contemporary teachers as G. I. Gurdjieff, F. Matthias Alexander, Milton Erickson and Moshe Feldenkrais. Those sources should be explored by any serious student. There is also a Psychophysical Method one-on-one "table work" that can only be learned directly from a teacher. That work, however, must always be preceded by re-educational "work on oneself," including mastery of the exercises. Robert Masters, Ph.D. Pomona, N.Y., 1983 -2- 1) LEARNING TRANSFER #1 (FEET) * To begin with, lie on your back. First take the position that you would normally take. Then, if you do not have them so, put the arms down at the sides, with the palms down. Spread the legs so that the heels are at least a foot or more apart. In that position, with your eyes closed, scan your body. That means you go over the entire surface of it and bring into your awareness as much of the surface of your body as you can. Also, as you go along, see to what extent you can be aware of your skeletal joints. It is possible to begin any place but usually easiest to begin with the feet, with the toes, and move up the foot to the ankle, and the lower leg, and the knee, and the upper leg, and pelvis, and abdomen, rib cage and chest and so on, and then to the shoulders. Do the fingers and come back up the arms to the shoulders again. Then do the neck and the head, all parts of it. In so doing, have several purposes in mind. One of them is to see how much of your body you can bring into awareness so that by the end of the scanning you can have a sense of the whole, or as much of it as possible. Another is to see where the body image is weak and where it is strong-- what parts of yourself you sense clearly, what parts not so clearly and whether there are parts that you do not sense at all. Part of your self-observation should have to do with the position of the body. At what angles do the legs go out, for instance? And the feet? How do you spontaneously place them and are the spaces between the fingers the same? Do your thumbs lie at equal distances from your thighs? See if it feels to you that your shoulders are equally in contact with the floor or if perhaps one is raised higher than the other. Is your head truly in the middle or does it tilt to one side or the other? Do this without any criterion of what is right or wrong, or better. Just simply observe without evaluating, without imposing on yourself judgments based on preconceived ideas or ideals. Just observe how it is at this particular time. € See if your awareness includes the way that your tongue lies in your mouth, and the contact of your lips, how one eye feels in relation to the other eye, and whether it seems to you that you breathe equally through the two nostrils. If you cannot tell, or in any case, check it by putting a finger alongside one nostril and then the other and see whether what you sensed about your breathing was correct. Bring your attention back down to your feet and legs. Sense how they lie. Now, without stiffening your neck or using your head to do it, come to a sitting position and then to a standing one. Observe that you do not inhibit your breathing. Walk around a little, observing how you move--the kind of contact your * Teaching time: about 45 minutes -3- two feet make with the floor, how the two ankles move, how the two knees move, the two hip joints, how the shoulders move in relation to one another, how you hold your head, and where you look, whether you look at the floor or out towards the horizon or wherever else you look, and whether your awareness is of floor and ceiling simultaneously or how far up and down your vision goes, and also how far out to the sides it extends, how great an area your visual perception encompasses, and whether that field of perception has any particular shape. Might it be circular or square or triangular or rectangu- lar or what might it be? Then come back and sit down on the floor. Place your left foot so that it is standing in front of you. Make yourself as comfortable as you can. Rap with the toes of the left foot on the floor. Then do it not just with the toes but with the ball of the foot. Place the foot at whatever distance from your body that facilitates rapping with the ball of the foot. Then stop. Close your eyes and try to get a picture of the foot for a minute. With your eyes closed, and still picturing the foot, rap again with the toes, doing it slowly. Rap with just the toes. Bring them up and put them down, forming a clear picture of the foot and the toes. Picture how the toes look, and also sense what the movement feels like. Now leave the toes down and imagine, both visually and kinesthetically, rapping with the toes. Imagine what raising the toes and lowering them looks like and feels like. Then try imaging instead rapping with the ball of the foot. Do it without inhibiting your breathing, sensing clearly that this is a movement of the ankle, and the front part of the foot comes down and makes contact with the floor and then goes up and loses contact with the floor as the ankle flexes and lets go. Now actually perform that movement, and sense those things. Sense also, as you do that, whether there is movement in your knee, and in your left hip joint. How much movement there is will depend on how the foot is positioned in relation to the rest of the body. Try finding the place that will let you make the optimal ankle movement and that will let you raise and lower the rest of the foot, while leaving the heel on the ground, as high and as easily as possible. The movement will be both quantitatively and qualitatively optimal when you find the right place to put the foot. Then stop. Now find the place where you can make the best movement rapping with the heel. Leave the ball of the foot on the floor and just rap with the heel. Try putting the foot closer and further away and see what the place is where the heel comes up the highest and the movement is easiest to do. Now lie down and rest a minute. Sense your left foot and ankle and leg and compare that with how you sense the right one. See whether there is any difference. -4- A few times just flex and extend the toes of the left foot. Then move the foot as if you were rapping with the ball of the foot on the floor. It is the same movement but the back of the heel lies on the floor in this lying down position. The sole of the foot is not standing on the floor now. Then instead of doing that, leaving the heel on the floor, just make some circles with the left foot. Observe whether you circle towards the inside of your body or towards the outside. Whichever way you spontaneously circle, do that for awhile, and then reverse and go in the opposite direc- tion, but be aware of which way you spontaneously do it. Then stop again. Flip-flop the foot from side to side several times by rotating from the hip joint. Then, instead, just rap lightly with the back of the knee on the floor. Then let the leg lie still, and without thinking about it at all, once again begin to make circles with the left foot. See how you spontaneously go, whether from the inside out or the outside in. See if it is not the same way that you did it the other time. Some people go in one direction, some in another. At some point you may understand why you prefer to begin your circling in one direction, but that riddle can be very difficult to solve. Now stop and bend the left leg and slide the foot along the floor. Slide it however far it can go without coming off the floor. Do it hard enough so that there is a lot of sensation in the bottom of the left foot. Try to become acutely aware of that sensation. Also try to make it a sensation of pleasure. Intend that it be pleasurable. Then for a moment, instead of paying attention to the sensations in the foot, try to use the foot as a way to learn about the surface under- neath it. Orient yourself outward rather than towards your own pleasure. Try to learn about the mat, or whatever surface is under your foot. Try to suppose that you have just awakened in a pitch black room to which you have suddenly been transported, and you are using the foot to try to learn what you are lying on. It is the only part of you where you can make skin contact, so that it is your means of learning about your immediate ex- ternal environment. Use it to sense, and you can also move it a little side to side or whatever other ways you might find to use it. You might swivel the heel from side to side, using the ball of the foot as a kind of hinge. Or you might use the heel as a hinge and swivel the front part of the foot side to side. See what other movements you can explore that would allow you to learn something about the surface. Then sit up a moment, again trying not to sit up first with your head. Use your lower body to bring you up so that you can avoid stif- fening the neck. Let your left foot stand on the floor in front of you. Try to form a picture of it. Then take hold of the heel of the left foot with the left hand and insert the fingers of the right hand between the toes of the left foot. -5- You have to pick the foot up and let it rest on your other leg. See whether those fingers insert better from above or below. Then instead insert the fingers of the left hand, and take hold of the heel with the right hand. See if that works better, and seems like a more natural, appropriate way to hold the foot. Use the fingers to flex and extend the toes. Now let the ankle move at the same time and use the hand that holds the heel to help with that. You are flexing and extending the toes and also flexing and extending the ankle. Position the foot in such a way to make that movement as easy and as extensive as you can. Then use the two hands to rotate the foot to make circles with it. Let them both assist in the rotation. Make it very clearly an ankle movement. Now stop and just hold on to all of the toes with the fingers, without inserting them. Bend the foot in such a way that you can feel it bending in the middle, and then straighten it. The toes will bend too. See if you can feel that the foot bends in the middle. Do it gently. Then, continuing to hold on to the toes with the left hand, slide the right palm up and down along the bottom of the left foot. Create as much sensation in the bottom of the foot as you can. Try to make it a double sensing, so that the foot is interested in feeling what the hand has to give it, and the hand is interested in giving sensation to the foot. You see that they are both very active partners in this transaction, that it would be inaccurate to say that one is passive. Also use the nails of the right hand to stimulate the bottom of the left foot. As that stimulation continues, let the ankle just flex and extend, flex and extend, as part of the movement. The left foot absorbs all of the sensations and the right hand is intent on providing them and finding ways to increase them. The ankle flexes and extends all the while. Now put the foot down. Let it stand, and sense it for a moment. Form as clear an image of it as you can. Also, with either hand as you prefer, run the hand over the top of the foot, in a caressing manner but also with the intention that the foot should widen and lengthen and the toes should extend. Rub the hand also over the sides of the foot, sometimes letting the nails move over the foot, sometimes the underside of the hand, sometimes the top of the hand, providing the foot with many, many different sensations and increasing the foot's feeling of aliveness and awareness, and also having that intention of lengthening and widening the foot. Let the muscles go loose and free. Then, using the two hands, take each toe and lay it out as flat as you can, doing it gently. Use your fingers in whatever way you like, but try to place your toes so that the bottoms of them are flat on the floor. If you gently pull out on the toe and lengthen it and pull out on it and lengthen it, see if that will allow it to lie somewhat straighter and