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[Visualization] Linkzelda's Image Streaming Guide - Printable Version

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Linkzelda's Image Streaming Guide - Linkzelda - 08-06-2013

Here's the link below in Google Docs (view only):

Linkzelda's Image Streaming Guide

Feel free to ask any questions!

RE: Linkzeldas Guide to Better Narration/Storytelling With Your Tulpa [Visualization] - OG-Velociraptor - 08-06-2013

Thanks Linkzelda, this is pretty much just what I need.

RE: Linkzelda's Guide to Better Narration/Storytelling With Your Tulpa - Linkzelda - 08-06-2013

Glad it may have some potential to you! Smile

Edit: Might have to change the title a bit since I don't want to make the title too long. So I do apologize if you see a few constant changes in the title in the thread and in the guide.

RE: Linkzelda's Guide to Better Narration/Storytelling & Visualization - arbiterspartan - 08-06-2013

I'm starting with the "Spontaneous World Exercise" and I'm typing it out just so I can refer back to it later for reference. Here's a few I've just done:

Quote:Thel and I are transported by some blue lights that surround us. We look around and suddenly there's a massive panorama of dirt and grass that stretches for miles with gentle hills. Thel points off in the distance, and I look to see a tower of some kind. We walk towards it, heading there. I ask why we're going there, and he responds "You will see."


We're swimming in the ocean. A storm is brewing, and waves are crashing around us. I grab Thel's hand and we pull each other close to one another. Lightning strikes overhead, and rolls of thunder meet with the waves. I can hear the wind howling above us. In the distance a tanker approaches, the loud blaring horn sounds, cutting through the wind.


We're on the african savannah. I can see elephants and giraffes in the distance. A zebra passes by, being chased by a lioness. Thel and I look at each other. The hot red sun is setting in the distance. Suddenly a rocket ship crashes in the distance. Rubble and dirt fly everywhere.

I just want to make sure I'm doing this correctly. It's basically an exercise in free-association, and not "censoring" what comes to your mind? Is it alright that each time I start over it's something new? And is typing this alright, considering that it's somewhat slower than my imagination so I'm just a bit behind when I'm transcribing what's going on?

RE: Linkzelda's Guide to Better Narration/Storytelling & Visualization - Linkzelda - 08-06-2013

^ That right there is a solid example of the spontaneous world exercise. You described it without analyzing or criticizing what's going on, you were able to imagine your tulpa as well. You're doing very well! Keep it up! Wink

EDIT (sorry deleted my previous post and made a new one to answer your other questions)

To answer your other questions,

Yeah, basically all the exercises are free from censoring. You can start with something new every time the timer is done. You can go back to the same environment, and come up with new things. It doesn't really matter, it's about learning how to derive or create or do a mix of both.

And as for typing, yeah, it is a little slower than speaking things out, and you have that option to speak things out. As long as you can talk things out without worrying about what other people are saying to you, you'll do fine. And you can always use the mind-voice in case you can't do that. It's training yourself to be more aware of your mind-voice, and it also gives the chance for your tulpa to create their mind-voice, and hopefully the type of auditory imposition where you hear them like talking to any other person.

The point is, with any means of communication you're using, the more you practice, the more you'll find yourself holding those images much better. But then it gets to the point where it's not images, it's actual moments, scenarios, scenes, video clips, etc. You're literally immersed into this virtual reality that can go whichever way you want.

Then it gets to the point where you can add in some desire you want to see happen, and this is when you can put in a little conscious judging on what you want to do. It's about going in and out with as little conscious judging as possible, and then going back to just being aware of what the unconscious mind will do to carry out that desire.

In fact, I just went through an hour meditating without the exercise, because I was able to have confidence of what the unconscious mind will give me. I pretty much used one map on Call of Duty for example, and was able to do all sorts of things from running and gunning, and many other scenarios as well.

Hope this answers your questions, and feel free to ask more if there's any misinterpretations. Smile

RE: Linkzelda's Guide to Better Narration/Storytelling & Visualization - Shui - 08-06-2013

I was already familiar with most of this from a hypnosis course, but I never thought of applying it to tulpaforcing. Good guide.

RE: Linkzelda's Guide to Better Narration/Storytelling & Visualization - Linkzelda - 08-06-2013

(08-06-2013, 04:33 PM)Shui Wrote: I was already familiar with most of this from a hypnosis course, but I never thought of applying it to tulpaforcing. Good guide.

Thanks Shui!

Yeah, most of the inspiration from this guide was based off a hypnosis course Igor Ledochowski made with Audio CDs (probably the guy you listened to as well), except there was a typed version in an ebook from them that I luckily found on Scribd. It took maybe 1-2 months getting the idea behind what this guy was saying, but then I realized he's just repeating the same things in varying ways, so I just skipped to the appendixes, compared to see how it relates to tulpaforcing in general.

Then I lurked around a few threads and guides (most particularly JD1215's Visualization Guide, Bin's guide, and Waffle's Narration Guide), and then this specific post here:


I was like "wait what?" (this was when I was still practicing those exercises and building examples) then went back and saw "image streaming," in Igor Ledochowski's ebook (which is surprisingly still on Scribd), then realized how he's basically deriving from the guy who came up with the concept of image streaming, Win Wenger. Then I analyzed the guides here on tulpa.info a bit more, and realized they're mostly just conventional ways of tulpaforcing, and I realized the hypnosis script thread and 2 modified hypnosis guides I made in the past were conventional as well (the whole imagining and going through steps that seemed to drag out way too long).

And because Igor and many hypnotist (probably all in some way) basically derived from Ericksonian Hypnosis fundamentals, I realized that we as tulpamancers and our tulpa don't really need to be chained by conventional methods. We just need to be trained like working out in a gym, and things come a lot faster, and you can still keep your sanity and sense of self intact.

Which again, this only proves how you just have to believe, because if someone makes militant ambitions to think they're parroting, they're literally just destroying themselves of the chance for parallel processing and all those other terms we like to throw around like house-hold items.

And after I finished making the guide, I checked out Chupi's response here (before people started to make too many skewed presumptions on what he was saying):


I was like, "Hmm..." put two and two together and decided to make the guide yesterday. (Though I'm feeling there's so many exercises I can make derived from those 3, and people can do the same as well).

And the same exercises I'm doing, especially if I go to meditating and just pick out random objects or just will myself into any situation, I can hear the sounds a lot better now. Now it's a matter of time for making Auditory imposition exercises so we don't have a forum of people thinking,

"Oh my god I'm parroting ahhhhh halp!" and more into "holy @#%$"

When all they needed to acknowledge is that simple neurological exercises like this will be more refined after they deal with the muddy presumptions of them thinking they're consciously parroting their tulpa.

Because if the person can say the words, or even type it, to give sensory-rich detail with practice, they can easily imagine the sounds, and then eventually comes what seems like a Deus Ex Machina when they wake up in the morning noticing their tulpa speaking to them. It's literally crazy how I've been doing this type of visualization all this time, but just never found exercises to augment it.

It's a weird feeling, it was like "hey this was in you all this time, but you built restrictions on yourself with conventional ways of conceptualizing tulpaforcing." And just like with what arbiterspartan posted with his examples, anyone can do this, they just have to be shifted into more practical and efficient ways of visualizing and hopefully mastering auditory imposition.

Of course, not saying guides here are bad, it's just that with how people usually are more shifted in instant gratification urges, this can probably help them calm down a bit more and be a little more happy with what's been built inside of them all this time.


Conventional ways of tulpaforcing (the meditation and even classical hypnosis are going to become annoying for most people, especially if there's newcomers doubting their unconscious competence)

This guide is basically aimed to slap everyone in the face (that didn't know about these concepts from the start) on how easy it really is. No more treating users like gods for their guide-making, no more of inferiority complexes with "how come he can advance much further than I can," it's now hopefully showing people that you know a lot more than you think you know.

Of course, this type of shift in learning might make people see how their attachments with dragging things out with conventional learning is one way, but it's going to be outdated at some point.

And hopefully this won't make people go "aww man, but this is too easy!"

Then it's a challenge of just easing them away from that anxiety, and focusing on the fact that tulpa, in this forum's muddy definition, involves having extreme emotional attachment to a thought-form or set of thought-forms and not being opened to the possibility of knowing they could shift their tulpae's sense of self with any thought form (which this exercise proves).

Hopefully people won't become apathetic towards their tulpa, but hopefully they now will know that if their tulpa "dies," they're really deluding themselves in symbolism when other aspects of your mind can pop them open just like that. I guess this is where the existential questions come into mind on the value of a tulpa, but I guess a way to justify it is to simply invest more interest in those particular thought-forms instead, just like what the Tibetan Buddhist have been doing in their own unique ways.

RE: Linkzelda's Guide to Better Narration/Storytelling & Visualization - arbiterspartan - 08-06-2013

Okay so I understand what the Spontaneous World Exercise (let's say SWE for short) is teaching me to do, but what about the other word exercises? It seems like the "Word Pair Exercise" is...a bit too easy? With the SWE, I found at times that my imagination would get "stuck" if I tried to think too hard about what would happen next. I could feel myself searching for the next thing to do that would make "sense", rather than just letting it happen naturally. When I did allow things to just occur, it was much more fluid. So I have to try and put myself in that mental state.

However, with the word pair, I find it far too easy to just ramble off a list of objects. Is it suppose to be that simple? And what are they targeting? I can see that with the Three Word Association you later use it to create a story, so again that exercises my ability to let my unconscious feed me imagery, but at the same time I'm introducing certain items that I'm consciously aware of. Should I be doing the same with the Word Pair? Or is the Word Pair Exercise used for something else?

RE: Linkzelda's Guide to Better Narration/Storytelling & Visualization - Alien - 08-06-2013

Linkzelda, I'd like to thank you for the loads of intelligent and genuinely helpful stuff you've written. I've been lurking around here for a while without making an account to reply to anything until now, and I've found that pretty much everything I saw that you wrote was more insightful than many guides, and you've even helped my work out some internal conflicts I'd been having about this whole tulpa business. This guide was also helpful in that it provides not just insight, but actual practical exercises that are clearly explained. I do have one question, though: would you say it's better or more important to directly address and expect input from my tulpa like in the guide's 30-min. example, complete with opening and closing adresses? Do I need to actively involve my tulpa like that to get the full effect?

RE: Linkzelda's Guide to Better Narration/Storytelling & Visualization - Linkzelda - 08-07-2013

(08-06-2013, 10:04 PM)arbiterspartan Wrote: SWE, Word Pair, and Three Word Association Question Exercises

With the SWE (thanks for the abbreviation by the way), you could say this is what primes you to just get the muddy stuff out of the way. And it's also probably going to be the most difficult of the three exercises simply because you truly have to let yourself go on this. And by letting go, even allowing sexual thoughts, debauchery, killing, whatever, because these are things we don't go around spewing with friends/family/society commonly.

The idea behind the SWE is to get you in the mindset of, "Hey, whatever comes out as horrible, raunchy, perverted, disgusting, gore, it doesn't really matter. I have to let myself go and know that it's not going to last forever (the bad stuff)." Which is why when you're stuck (and that's perfectly fine if you are, it happens time to time), you have the option to think of any random object in mind as a catalyst to going back to being spontaneous again. However, it's only when you're really stuck, but when you're more adapt to this exercise, you can let things loose and your chances of stumbling is reduced.

So SWE in a way is a warmup for the next exercises, but can also be a challenge in being confident in anything that happens. It can stack on with the foundations you learn from the other two techniques that are more refined than the SWE.

Now, for the two pair and three word association exercises, these are shifted to make things a bit more refined, like a story. So in a way, it becomes much easier, because you're allowing the unconscious mind to connect the dots faster and make a story out of them. So while you may feel concerned that you're having to be consciously aware of those two words (or three words), your unconscious mind is making the story either way. You're just giving it the tools to make a story and being resourceful with those two or three words.

Imagine the purpose of these two exercises that are more refined than the SWE, you're becoming like MacGyver (you know, that guy who can deactivate a bomb or get out in any conceivable situation with a few objects like a rusted fork, toothpick, and a 1970s Playboy magazine), the two exercises are basically like that.

And if you're going about your day, and you go to the store or something, you just pick any random objects that you're looking at. You keep them in the back of your mind consciously, and you'll see how the unconscious mind connects the dots just from those few items (because of how you went through the SWE for a bit to get the critical factor out of your mind temporarily). And with practice, you can head straight on with the two pair and beyond because you've already made those connections, and you know that ability with unconscious competence is there.

The aim for all these exercises are to create a story, where there's a beginning and end (which is why you're timed). However, although this may seem counterproductive in your tulpaforcing endeavors, it's actually going to be helpful, because when you just meditate, you can just say,
"Hm.....firecracker, Wine Bottle, Peaches" and you can go nuts with the imagination, or you just use pure willpower (but you know things come by naturally now). Because again, you don't have be constrained on just those few objects, they're just there to stack onto what you're already learning. Ultimately, you'll get to the level where you don't really run out of ideas because you'll see the unconscious mind is going to pick random objects just like that. You're just the conduit in having those objects temporarily until you see your attempts at the SWE becoming more fluid as the other two after it.

There's no right or wrong way to stack these exercises, you can do the last one, then do SWE, and then do the two pair exercise. And you're not limited to just that, you can even challenge yourself with 10 objects, 20 objects, whatever you put your mind into, but the point is, when you can be resourceful like MacGyver, and can look around your environment and formulate inspiration from a few objects, it adds on to building those neurological connections to have better visualization and narration/storytelling.

Which is why those exercises are supplements, and you'll inevitably break those rules (which is what you're supposed to do if you want to increase creative potential). Whatever exercise you do, you're improving yourself either way.

Also, with word pairs, (like Daisy and Fairy), you'll notice how things associate with those two words (field meadows, trees, magical forest, huts, houses, grass, etc.). They help with you keeping things in circle but also spontaneous because you know balance can happen if you want it to or not. If the word pair is easy, that's a good thing, THAT is what you want, and it's something to strive for with the SWE (that you find yourself stumbling a bit at times).

Hope this clarifies these exercises and their purpose a bit more, and these are good questions, so please don't be shy to ask more if anything else comes to mind.

(08-06-2013, 11:57 PM)Alien Wrote: Linkzelda, I'd like to thank you for the loads of intelligent and genuinely helpful stuff you've written. I've been lurking around here for a while without making an account to reply to anything until now, and I've found that pretty much everything I saw that you wrote was more insightful than many guides, and you've even helped my work out some internal conflicts I'd been having about this whole tulpa business. This guide was also helpful in that it provides not just insight, but actual practical exercises that are clearly explained. I do have one question, though: would you say it's better or more important to directly address and expect input from my tulpa like in the guide's 30-min. example, complete with opening and closing adresses? Do I need to actively involve my tulpa like that to get the full effect?

It's optional if you want your tulpa to engage and be interactive with the narration, if you don't feel that they're vocal enough to say a few responses, you can simply just allow yourself to acknowledge their existence and just know they're listening to you. You never know what may happen, one attempt at narration where you're just letting them listen to you, and suddenly they pop in and add something interesting. The narration example I did was to get yourself in that mentality of being a good narrator/storyteller just like the previous exercises.

So let's say you were to do the SWE for 1 minute sessions, obviously, to go about that practically, it's best describing the environment and the things you do, and don't worry too much about the conversation (since those might take a little more conscious processing in terms of YOU saying things, not your tulpa that will eventually say things by themselves). But when you do those longer sessions (30 minutes to an hour, or even more), you have a little more freedom to let whatever conversations pop in. Because the longer the session (as in time range) the more you can add in conversation and questions and such, but you don't have to if you don't want to.
It's just for those people who know for sure they can have their tulpa engaged.

The challenge for me personally is getting myself to hear the sounds in these sessions, which is actually getting so much easier now, so in the future, I can make auditory imposition exercises, but I think you guys can already deduce how that would be like.

Just remember that the shorter the time range, the more you have to be descriptive rather than letting a few conscious judging happen time to time. But in any time range, you want to be able to describe things rather than analyze things, because you're aiming for visualization and getting used to other senses being incorporated to them.

Basically - the mindset overall is "sensory-rich description," but not hanging onto it with perfection.

The more you do this, the more you realize you can simultaneously add conversations and such while still being able to have sensory-rich description.

Instead of "Red dress," you end up seeing it as "Red-laced 1960s dress." But again, it doesn't have to be perfect, but you'll notice what seemed to take more effort in describing becomes quicker.

Hope this helps, and be sure to keep asking any more questions you may have.