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  1. To those of you out there that may not know me, I've been practicing tulpamancy for around two years now. This PR summarizes of all the imposition-related experimentation I'm subjecting A3, my good friend and resident tulpa, to in an attempt to advance our knowledge about it (as well as have a record of all the potential accomplishments we'll land in the process). The thread is basically me just dipping my toes in the water and seeing what I can gather from all the guides users before me have published. Don't be afraid to drop by with some advice of your own whenever a new post on this thread comes around, or maybe you can gather a bit from it yourself, who knows? Happy reading. Hit the "Next Page" button to access additional resources. Jargon Glossary: Box Imposition: A nickname that I use for imposing using the sense of limb proximity and movement, proprioception. This form of imposition also comes into play in the lesser version of it, which most know as presence imposition, and when trying to impose "phantom limbs" onto the body. Mindsculpting: The action of physically sculpting a tulpa's form in reality using your hands, as if you were sculpting something from clay. This is the main technique for visual imposition as described in Q2's imposition guide. Boundaries: The term for identifying the sense of where the imposed form starts and stops. The face of an imposed cube or the mental outline of an imposed arm fall under this classification. Visual Noise: A naturally occurring, static-like overlay on top of one's visual perception that is most noticeable in darker environments. Mental Weight: A metaphorical term used to describe the energy that is needed to impose. Over time, it becomes easier and easier to impose under increasingly higher degrees. Regular, consistent practice can yield gradually better imposition quality, because the brain naturally becomes attuned to the skill. It's almost like learning a new language or instrument. Normal Force: Based off the physics concept of the same name, it represents an equal and opposite "pushing back" of an imposed object's presence after you "push down" on its form through administered concentration (so to speak). This strategy is great for helping with having projections feel fuller and accepting them into objective reality easier. Noisewrapping: The act of trying to fill in, or "wrap" the boundaries of an imposed object with visual noise. Since visual noise helps the most with opacity, it's a great technique to use for that. It's not really shaping the noise as much as it is trying to find shapes in the noise, which boundaries help to facilitate. Guides I Use (can also be found on the master list): JD's Guide to Visualization JD's Guide to Visual Imposition (image heavy) q2's method for a huggable tulpa, v2 How to see your tulpa and distortions A Starting Imposition Guide Malfael's Guide to Visual Imposition Linkzelda's Ultimate Self-Hypnosis Scripts For Your Tulpa-Related Needs More Threads to Lead You Deeper Into The Rabbit Hole: Twice Sparked: The Second Spark Breloomancer: Miela and Bre explore the depths of a human mind Guest Anonymous: I don't understand... anashyean: *how* do you do/practice imposition? JaySkycrest: For those with a fully imposed tulpa... Gloomynoon: Advice for imposition these days. neo: Potential easy path to visual imposition neo: How important is expectation really in imposition? Purlox: The effects of doing imposition early Apollo Fire: Describe Your Imposition Kila: How to make it so you see tulpa in reality? Slipper: Imposition- Do People Still Do It Anymore? Smart Person Research: Abigail C. Wright (et. al): Experiencing hallucinations in daily life - The role of metacognition Patricia Boksa, PhD: On the neurobiology of hallucinations Sebastian Rogers (et. al): Hallucinations on demand: the utility of experimentally induced phenomena in hallucination research Valentin Dragoi, PhD: Visual Processing - Cortical Pathways Visual Scene Analysis: The Emergence of Cognitive Science, Chapter 7 (from JD's imposition guide) What gives the human brain the ability to imagine things? - Quora (from JD's imposition guide) Hallucination - Wikipedia Ambiguous image - Wikipedia
  2. How do I use visualization? When I consciously try to visualize something, it turns out very poorly, I almost do not see the represented object. But as soon as I let go of visualization, and let the subconscious draw itself, random images pop up, with a level of hyperrealism. So how do you at least have a balance between the quality of visualization and awareness? (I have been trying to visualize consciously for about 2 years, as you can see, without results)
  3. I was looking for a thread about different tulpa systems wonderlands but I couldn't find any.So, host and tulpas what does your wonderland look like? Give me details or an image of it : ) I'll go first.my wonderland is a small town in the fall with sometimes warm and sometimes cold weather.There's a sunset 24/7 because me and my tulpa love sunsets.
  4. Intro Hey, guys! It's Zephyr (the host) and Midnight (tulpa). We're really new to this community and I think we'll use this page for updates and progress report. Color Coding Normal text is Zephyr Dark blue text (will be) Midnight when she learns how to front About Midnight Midnight was made three days ago. I already feel her as a separate consciousness and we can talk about more complex things together... is this normal? She's been around for about a year or two as an imaginary friend, but I only started actively forming/forcing her when I first discovered about tulpas. I spend time with her, but I don't necessarily always focus my entire attention on her. Part of this might be because I can't visualize a human face. I can only see her face as a warm blur, more like an abstract feeling than a concrete object. I can visualize everything else about her in perfect detail, though. Do you have any tips? Thanks :) How I'm Forcing Her I started by making her general personality (calm, intelligent, warm, etc.) She went a bit off-track by going more "excitable, funny, extroverted" but I'm 110% cool with that. I then started making her form. As an imaginary friend, I accepted that I can't picture her, so I just let her be a blur. But now, I thought that a form would significantly help the process. I let her decide, and she went with a relatively tall female shape with long hair and dark blue/purple dress that fades into mist. I didn't actually create a wonderland because I had one from when she was just an imaginary friend. I did some augmentations and enhancements, but nothing drastic. Cool Facts Her favorite color is black. She says it seems peaceful. I *think* her favorite animal is a hawk. Her hand can calm an anxious heart (those were her exact words, translated to human language because she thinks and talks sort of abstractly) What else should I ask about her? Conclusion: Okay, so that was a bit shorter than I thought. We're going to keep updating as we progress in our journey together, and if we find anything interesting and/or remember stuff we missed. Bye for now~
  5. We've been on and off practicing imposition for more than a year now. Our goal is not to just impose a headmate, but to be able to visualize anything as a hallucination (aka prophantasia). The point of the log is to keep track of small discoveries, break-throughs, etc so that we can write resources on the topics in the future. Our current level of imposition - we can see any image we want (unless it takes the entire visual field) but only for a spit second, and the vividness varies. A lot to improve but still better than nothing! Not really relevant, but we also have hyperphantasia
  6. It's funny how easy spatial awareness is to practice on the side when you're bored. Like, really easy. The fact that proprioception involves sensing limb proximity makes exercises with it common sense, especially when you consider that you’ve already have an innate understanding of where your hands are beforehand. I’ve taken the time to make an exercise utilizing this for the benefit of anyone willing to give it a little test for themselves. Think of it as a five-pound weight you can add to your budding imposition escapades. The premise of it is (as the title suggests) stupid simple, but keep in mind that this can be done with any amount of focus. Just remember that what you put in is what you get out. I’m sure there are infinite variations of the exercise, but what I generally find myself gravitating towards is this: 1) Look over to where your hand is right now. Study its current perspective while it’s still, and observe how that perspective shifts when you move it. You’re taking a mental snapshot of what that looks like so that you can picture that perspective in the mind’s eye. 2) Now, close your eyes and move your hand around so it lines up with the way you’re visualizing it. During this time, you can feel around for it with your other hand to determine where it actually is in real life, effectively embedding its placement into your intuition. 3) Move your hand around slowly and try to visualize your motion with spatial awareness. It should naturally feel like it’s lining up with your hand’s true position, though trying to feel around for your real-life hand actually reveals that this is not the case. The important thing is that it feels accurate to you. 4) To work in detail, try and touch your fingers together (with both hands) while using the same process I described above. You’ll inadvertently have to visualize where the hands are in relativity to one another to be able to touch them together, making sure you take into account their proximity both to each other and to you. You can make it more difficult for yourself and set a certain point you want to aim for, too. Just make sure you’re refreshing where your fingers are pointed every time so you can keep it a mystery as to where they actually are. With that being said, note that you’re only predicting where your hands are. By doing this, you’re effectively building up the expectation that you’re visualizing your hands exactly where they are in real life using the actual sensation of having your fingers touch together. Also, don’t doubt yourself here! Everything going on behind the scenes in that big brain of yours is mostly out of your control. It’d be like getting mad at your muscles for not being able to lift the couch. I know it’s cliche of me to mention here, but repetition is key. Map, touch, reset, repeat. That’s all there is to it. Happy imposing.
  7. Title says it all! The folks over at /r/tulpas thought it was great, so I thought I'd share here. Hoooly shit what the fuck was I thinking? Ok this might work for you, but as I found out, not everyone's brain works the way mine does.
  8. We try to wonderland in first-person but it takes far more mental energy to maintain that perspective. Third-person is a lot more natural to us. Often, when I attempt first-person, it wears down into a type of third-person where I'm looking at the back of my head. We recently got this great sleeping mask that blocks out all light. I found out I have a much easier time maintaining first-person and *seeing* things when (1) my eyes are open and (2) I'm wearing the sleeping mask. I think it's because the physical body is more synched with my body in wonderland. Sometimes I close the body eyes and look in a wonderland mirror to see myself, and it feels slightly off. I feel my eyes are closed so how can I see myself? Each layer of abstraction removed makes the resulting wonderland more vivid. If I am facing the same direction, in the same position, eyes opened the same amount, feeling similar sensations on the skin, etc., I can see my headmate in wonderland more clearly than ever, as well as the things behind him. It's kinda like how removing one sense can make the others stronger. This is all makes sense and seems obvious. I've known this for a while, but I was still surprised how much the sleeping mask made a difference. Do you do anything in the physical world to aid your wonderland experience? Do you wonderland in first or third person?
  9. Basically this is nothing revolutionary and surely has been suggested many times before, but maybe some have missed it. The instructions below are merely an example and almost anything can be changed to suit your needs. 1. Sit down at a desk with a small object in your hands, for example a pen. 2. Close your eyes. 3. Start manipulating the object. Rotate it, touch it, feel it. 4. As you do so mirror your movements in your imagination. If you rest your thumb on the pen's top button, visualize it doing the same thing in your mind. It's important that both of these movements happen at the same time. 5. Remember to stay in control of your hands in your imagination. Try to pretend that it's them that you move first while your hands in reality follow. 6. Focus and relax. This is just one way to do it, but the important thing is that you keep your eyes closed and only peek occasionally when needed. And of course remember that you are trying to visualize your hands and the object to the best of your ability, not just sitting with your eyes closed. You could also try this technique with something that you can't physically hold in your hands. For example by standing in front of a wall. This time it would require you to imagine your entire body mimicking your movements in reality. I believe that the biggest benefit from doing this exercise is that it simply gives your imagination something to build on. A lot of people can relate that it's difficult to visualize something from nothing. This method might help by giving your imagination some basic sensations to build on. I hope it makes sense. Thanks.
  10. JD’s Guide to Visualization Many people come into tulpamancy with different levels of visualization. It’s common for more artistic and imaginative people, as well as those with the tendency to daydream, to be able to visualize very well. However, some people find that they are very bad at visualizing, or even unable to visualize at all. The goal of this guide is to figure out your skill level of visualization, and to show you how to advance from there. If you are experiencing this level of visualization, the most likely problem is that you are expecting to see your tulpa with your eyes, or see her image on the back of your eyelids. However, this is not the case. Visualization takes place in the mind's eye, that is in an area separate from the stream of data from the eyes to the brain. You'll want to focus on adjusting your attention away from your physical eyes, and instead to your mind's eye. You naturally use your mind’s eye all the time, especially for keeping your surrounding environment in mind. For example, observe this setup of cubes. When counting how many cubes there are in this arrangement, you will probably not only count the cubes you can see with your physical eyes, but also the hidden cubes you can see with your mind’s eye (which in this case acts as a sort of mental x-ray vision). There are 19 visible cubes, and 12 hidden cubes. At this level of visualization, you are looking through your mind's eye, but you've yet to achieve any sort of definition or significant color in your attempts to visualize. Getting beyond this stage is mainly sheer practice. One visualization exercise you could try is my very slight modification of Rasznir’s number visualization guide. This exercise involves visualizing a canvas in your mind, and asking your tulpa to draw numbers on each page of the canvas, starting from zero and going up to 100 with each step. Try to maintain visualizing your tulpa writing each number in detail, without losing focus. If you lose focus, start again from zero. I suggest that your tulpa writes these numbers in different colors as well, and that you try to name the color your tulpa used. If correct, move on to the next number. If wrong, start over. The point is for your tulpa to test how accurately you are visualizing color. At this stage, you've got a foothold but your visualizations are still hazy like a dream you don't really remember well. To get beyond this stage of visualization, you'll want to focus on several different things. For one, you need to start practicing including smaller details in your visualization. Start by scanning your tulpa from head to toe, sequentially zooming closer on smaller areas as if your tulpa was being viewed in Google Maps. Additionally, you'll want to increase your ability to know the exact pose and form of your tulpa. Fuzziness can indicate uncertainty in your visualization, and turning the mind's uncertainties into concrete notions will help decrease the fuzziness as time goes on. To practice this ability, try playing a shape-based puzzle game such as Tetris for an hour or more every day. Eventually your mind will become good at knowing the exact shape of the puzzlefield, which in turn can be applied to your tulpa, reducing fuzziness. At this stage you are competent enough to impose if you’d like, but to really make your tulpa realistic you will need to learn to refine your visualization abilities. One exercise you can try for getting beyond this stage is by going on Google Maps. Start at any location in satellite view, but zoomed out to a point where you can’t actually discern any individual buildings. Spend some time remembering the details of this overhead view. Once you can visualize it in your head well, zoom in a little bit and start to observe the smaller parts that you could not see before. Scan over the area and visualize these as well. Once you can do that, zoom in another iteration and repeat. Go as far as you like remembering details. The goal is to see if you can mentally reconstruct the map in your mind and zoom in and out at will. This exercise can seem a little daunting, so start with small areas and try only zooming in once or twice. After getting good at this, your mind should be capable of visualizing small details in the bigger picture. Additionally you must spend time going over your tulpa’s form and becoming familiar with the smaller details, just as you have done with the maps. This is a problem that isn’t as common, where you can see the details of your tulpa, but trying to look at the full form is difficult, often appearing as a collage of details rather than a unified body. The simplest way to work around this problem is to visualize your tulpa from various distances. Visualize your tulpa very far away from you, to the point where she looks like a whole body rather than fragmented details. Ask her to walk towards you until you begin to struggle to see her wholly again. At that point, you’ll have found your threshold for full-body visualization. To stretch this threshold, you’ll simply have to spend some time visualizing your tulpa up-and-down at that distance until the collage effect starts to decrease. Sheer practice is the easiest way I’ve found of mitigating this problem. You’re nearly a visualization pro, the last step is tearing down the mind barrier that gives your visualizations an uncanny dark or transparent quality. Growing past this stage will have you fully prepared for imposition. While simple visualization practice over time will resolve this problem, it can also be solved through meditation and some general realizations about how you see things. Your physical eyes send visual data to your brain, and your brain makes an image out of it. In essence, you see everything with your brain, not necessarily your eyes. Your visualizations are similar, in that they are interpreted by your brain. You must convince yourself that there is literally no difference between what you can see with your eyes, and what you can visualize, as the end result is entirely constructed in your brain. Your mental image of the world is entirely subject to your conscious will. Every physical object you can see is constructed in your mind only because your eyes react to photons emitted by those objects, and your brain decides to translate that to colors and forms. Every mental object is the same way, but the process is not subject to the laws of the universe. Your brain can translate your imagination into colors and forms in the exact same way. If you can meditate on this train of thought for a while, perhaps you too will believe how subjective reality is. And once you’ve done that, your visualizations will reach the vivid level of quality we’ve been aiming for. Congratulations. You can visualize awesomely, and you are fully prepared to try imposition. If you’ve not already done it, try visualizing with your eyes open and compare the quality to your visualizations with your eyes closed. The exercises for open eye visualization are exactly the same as closed eye visualization. If you are able to achieve certain qualities of visualization, but often find that these qualities only exist for brief moments or flashes and regressing to lower qualities, you will want to try practicing visualization from the lowest quality that you tend to hit. Replaced bad image links with good ones. Original links here - waffles Fixed the broken link to Rasznir's guide - vos
  11. Ignis has lost his form. I cant visualize him as anything anymore. I tried asking him what he wants his form to be, but he isnt talking to me either. Is this his way of being angry with me, or is he just...gone? I dont know what to do, and this is really worrying me.
  12. Okay so. I started creating my tulpa...around 2 days ago. Here is what I've got so far. 1. His form will be a Siberian Tiger 2. He is male 3. His personality is: calm, reassuring, and loving...though once he becomes vocal he can add to that. 4. His name (temporarily) will be Ignis, and i will let him change it if he wants. 5. His design: His eye color is a greenish yellow, he has a long tail and short legs, and his pelt color is a soft orange. His special trait is a heart stripe on his right cheek. Is this all pretty good? Do I need to add to it? Is his personality realistic?
  13. So i started development of a tulpa about 2.5 days ago and she's been progressing very rapidly. The first day I spent forcing I came up with a placeholder form and name to help visualize ( I called her Tulp before she chose her own ) and embedded that form with some basic traits i wanted her to be built around and started narateing and parroting her responses. a while later she began to answer me with yes and no. she told me later she knew I would think I was still parroting if she just answered normally so instead since she already knew what i was going to say she interrupted me while i was relaying the thought to her. The next day I tried talking to her more and she started to diversify her vocabulary a bit with words like sure, uh-huh, nope, or nah. Later that day I asked her how she was feeling and she responded with happy. Whenever I ask questions that require more than one word to answer though I feel like i'm definitely parroting because the responses are exactly what I thought she'd say and they don't sound or feel like her. Later that day we talked about what kinda form she wanted and she decided she's 6'2", has black medium length hair, fair skin, a wide mouth and a perky nose. I also asked her what her favorite primary color is and she said yellow. We'll keep working hard and i'll post more updates as they come! UPDATE i forgot to mention that i created a mindspace for us that consists of my room and her room ( witch she decorated all b herself! ) and outside is a street and on the other side of that is a park. the street cuts off on both sides and the entire rest of the area is covered in grass as far as the eye can see. Tulip spends a lot of time in the park and also likes to draw things from my memories sometimes.
  14. Hello. First of all, I'd like to apologize if this question has already been answered, I'm a little bit panicked right now. I discovered Tulpamancy and this website in 2016 and I lurked here constantly, though never interacted with anyone because I was extremely reclusive. I ended up sitting down and putting forth my best effort to create a Tulpa and a Wonderland. It worked. For the first time in my life I had a friend, and I'd never been happier. But then our Wonderland went foul, I guess we could say. It was hostile. I saw things that were truly horrific. I was terrified, but my relationship with my Tulpa survived, we just stopped using our Wonderland. Over the next four years we enjoyed a friendship like no other. It was truly amazing. But then I was lead astray by a horrible, intolerant, closed-minded ideology by people who didn't make me nearly as happy as my Tulpa did. I am not trying to avoid blame here. It is fully my fault and I was very foolish to do what I did. But I took it as a learning experience that brought some of my flaws to light, and I have made an effort to change my personality and character accordingly. In these past ten months without my Tulpa, I've been perhaps even more miserable than I was before I met them. Lately I've been missing them more and more, and one time I seemed to have even gotten an image of them in my mind's eye, they look different, but I feel like it was them. Tulpa.info is probably a different place with mostly different people than the last time I was here, but if anyone has any advice on how best to bring back a lost Tulpa, I would appreciate it immensely if you would share. I seem to remember reading something about writing them a letter? Does that work? If so, how would I go about doing that?
  15. Hi, I am having some trouble with visualization. The thing is, I don't think my visualization is that bad, but I am having a ton of trouble actually focusing on that visualization instead of the back of my eyelids. I am wondering if anyone has a suggestion of what I can do, like I said I don't even think my visualization is bad but I just have a lot of trouble concentrate on it.
  16. Earlier this week was having a lot of head pressure due to extended periods of visualizing, so as the pressures became annoying and persistent enough, I thought I should address it. I've noticed before that my head pressures are related to the way I was flexing my tongue muscles really hard and pressing it against my palate inadvertently. I have tried many times visualizing without doing this and, it works momentarily but whenever I stop paying attention to my tongue, there it goes again pressing my palate really hard once I start to concentrate into the visualization. I only notice that I'm doing that after I already start to feel the head pressures. By that time it's too late and it's already bothering me. So after two days of attempting to visualize with my tongue relaxed without success I thought that I should probably google that. So there I go googling the terms "tongue" and "meditation" and I came across this: https://www.easyayurveda.com/2020/01/31/khechari-mudra/ https://en.wikipedia.org/wiki/Khecarī_mudrā Very weird, right? That's what I thought too. Basically, they stick the tongue up into the nasal cavity above the palate and use that to aid the process of meditation. So of course I went down this rabbit hole and found out that some people seem know how to do this naturally. This girl is an example of someone that has this ability naturally: https://youtu.be/ijpBUfOTBT0 Also other people report having head pressures identical to what we see in tulpamancy in this practice, here's an example of someone describing their head pressures in the context of Kriya meditation: https://www.reddit.com/r/kriyayoga/comments/mgpk73/tension_in_the_head_during_dhyana/ Described as "tension in the head that is somewhere between no pain and the pain you experience during a headache." This seems to me like it's the same kind of head pressure we experience in tulpamancy. At least to me. Also I forgot to mention that, they say THIS GIVES YOU IMMORTALITY. Which, of course, is bullshit otherwise there would be 1000 year old yogis walking around. Then I thought it would be a good idea to ask around here because, well to be honest, the people that practice this don't know how to explain it without anecdotes and dogmatic stories. Which is fine for spiritual people but I want to find what part is real and what part isn't. Or a deconstruction to find the line where the anecdotes end and the actual benefits of this practice begin. Or if there are any benefits at all. Here is a small list of claims about this technique: (which I have absolute no idea if it's true or not) -Helps you overcome hunger and makes it so that you go extended periods of time without food. -Gives you access to DMT that is stored in your pineal gland. By licking it directly. (yeah gross, the girl in the video seemed to get very high from doing it, she even says she's high afterwards) -The practitioner doesn't suffer from decay, disease and death. (this part I think it's flat out not true) -Gives you immunity to snake poison. (This one I think it's sorta possible, because some snake poison triggers your immune response and the response of the body is what kills the person not the poison itself, so technically by controlling your immune response you would therefore not die from the poison) So my questions are: 1-Does anybody else experience their tongue forcing up the palate unintentionally while visualizing or concentrating really hard? 2-If so, do you think this is related to Khechari mudra? Or is it just tension and I'm looking way too much into it? 3-Are those just stories and not meant to be interpreted literally? (If so people are doing a bad job at explaining that) 4-Is there something to this at all? Is it a practice worth looking into? Just thought it would be cool to ask here, since if I asked on their forum they would either not tell me because it's a closed practice, or even if they did tell me I wouldn't understand because the vocabulary they use is very far removed from anything I can contextualize. So what do you guys think? Is it all nonsense or not?
  17. Hello! This is our sketchbook gallery. Here you will find pictures from my system, including drawings of me, tulpas, other headmates, and the dreamscape. I draw some things myself, other projects may be collaborations between me and Matt, Clu, or Shalkagi. I'm not quite into the switching phase yet. Usually, they talk to me as I do the drawing. Here's our first entry! It's also on the ITT: We Draw Our Tulpas thread. This is my first full visualization of Shalkagi. She started as an original character idea and began to form as a legit tulpa. I drew her face and body so I'd have an image to recall when narrating or forcing. Shalkagi (who also spells her name as Sal'qagI) is a Klingon female. She's pretty tough and belligerent, as Klingons are. I consider this drawing here one of my best works so far. This drawing was done by me as the host, while working on the visualization process. Notes on details: On the hair on her left side, there appears to be a light spot. There, is a streak dyed neon purple. I didn't include the purple in this black-and-white drawing. The weapon she's holding is a traditional Klingon bat'leth. But she uses other weapons, including just fists and feet. The light metallic armor is just one of many things she wears. Pictures of other outfits will come later. The quote on top is written in tlhIngan Hol. She is saying: "My name is Shalkagi. I am a Klingon!" And this is the very first Klingon I've ever drawn! I had lots of fun with this. Follow me for more!
  18. Hi this is Robbie (the host). Do your Tulpas forms/entities ever scare you? A question from the Sacrihm System Host.
  19. Hi! Renesmee here. So, today I created Rosalie (placeholder name). I introduced myself during an active-forcing session and then sent an email to an account I set up so I could email her for forcing. I'm feeling encouraged and optimistic. More reports as events warrant!
  20. I have been practicing both visualization and imposition for a long time now and so far I have only used photo-realistic references. While I can visualize realistically, it has not become easy or comfortable enough to just have it there. I've seen people say they got to full on imposition quicker than me and I was wondering if the reason for this is the anime/cartoon style characters that may be way less taxing on the mind to keep consistent. So I was wondering if by switching to visualizing in anime style I would be able to make it more consistent or lighter to visualize? Or would it be a better strategy to just increase the number of details so it increases my tolerance overall? I would prefer it to have it be realistic in the long run but I'm tired of it being a struggle and I wanna just impose and chill a bit for now if it's going to take a while to archive full on photo-realistic imposition like I originally intended. The weird thing it's that I can impose realistically but it still feels like I'm trying to juggle and do math at the same time. Any advice is appreciated.
  21. How To Refocus On Your Wonderland Preface For a long time I struggled with poor visualization, but what I really struggled with is how to focus on my wonderland. When I saw a blur or darkness, I didn’t know how to get a viable image. I thought I was just bad at visualizing until I realized an image came in more clearly when I took the time to illustrate it bit by bit. The tricky part was knowing how to focus on a scene and use that skill to build more elaborate constructs. I put this guide together because this method helped me in the past and it boosted my confidence in my visualization ability. Summary This method is about stabilizing and solidifying your focus on your wonderland by applying visualization skills in a step-by-step process. You start with visualizing a simple object and illustrate one new detail at a time. Next, you continue to repeat this method with increasingly more complex objects until you become satisfied with your visualization quality. You can also use this method to improve your visualization quality for more complex objects and multiple objects. Prerequisites This guide assumes you have a wonderland, but this method can also be applied to visualizing objects in a void. This guide does not require having a tulpa or previous knowledge on meditation. Summary of the Visualization Skill This guide expands on concepts described in Chupi’s and Nikodemos’s guides and is similar to Luigi's scanning method by explaining when and how to apply these skills in order to focus and achieve better visualization of your wonderland. While I will briefly explain this skill, these guides explain this skill in more detail. This skill is all about looking at an object and asking yourself how it should look, feel, take up space, etc. For example, if you have grass in your wonderland, one could ask about the color of the grass, the height and shape of the blades, what species of grass it is, if it’s made out of cotton candy, the texture of the grass, how it feels when you walk in it, etc. The more questions you can answer, the more information you will have about that particular object. Thinking of questions and answering them requires your focus and having more information allows you to visualize your objects and wonderland more effectively. How to Refocus on Your Wonderland: Detailed Walk-through First, find a block of time and a comfortable place to sit down. Since you will be applying this skill one small step at a time, expect this to take time. Stabilizing your focus involves walking through this process slowly. Rushing can disrupt your focus and cause your visuals to blur. If you have any doubts or feel frustrated because you’re looking at a black void right now, keep in mind your visualization quality will get better. If it helps, you may want to use a relaxation breathing technique before getting started. Start with taking a simple object such as a sphere or a cube. What color is the sphere? Is it smooth or bumpy? Is it soft and squishy or firm like a billiard ball? What is the temperature of the sphere? Are there any other questions that come to mind, such as how the ball reacts to gravity? Continue to illustrate more details with your simple object until you are satisfied and or bored. Once you can clearly picture your simple sphere or cube, you can move onto something more complicated. A more complex object like a chair is a good next step. How tall is the chair? What is it made of? How many legs does your chair have? How stiff is the seat if you sat on it? What are the designs on this chair? A chair is a friendly object to work with because chairs are usually easy to find in most living spaces and can be used as a reference or a source of inspiration. If you feel satisfied with your visualization ability at this point, congratulations! While this approach may no longer be needed to help you at this point, this process can be applied to more complicated objects and landscapes to produce a more vivid image of your wonderland. If you feel like your visualization is still fuzzy or you are growing bored and restless, you may want to try again with another somewhat complex object. If the problem is you need something more interesting to look at, you may need to move onto an even more complex object. For a very complex object such as a tree or your tulpa’s form, you may want to break the object into smaller parts and then visualize the object as a whole. For example, you can break up a tree into the trunk, branches, leaves, and roots. If you start with leaves, you may want to ask questions like: "What is the leaf's color?" "What shape is the leaf?" "If you squeezed a leaf in your hand, would it feel fibrous and maybe a little sticky?" Once you are satisfied with the leaf, you can move onto the next component and keep working until you have the whole tree. For your tulpa’s form, you may want to start asking yourself questions about your tulpa’s head, body, clothes, and so on. How broad or specific these groupings are is completely up to you. Once you are comfortable with visualizing each part, imagining the whole object may only require a few final questions such as: "Are all of the leaves the same color" and "How do the leaves and branches move in the wind?" Breaking a complex object down into smaller sections can also be applied to visualizing multiple objects. Instead of one complex image being made up of different parts, one complex wonderland scene is made up of multiple objects. I recommend starting with a small number of less complex objects, such as a chair and a rug, and then add one object at a time. Alternatively, you can do a mixture of both the original approach and a piecemeal approach by starting with very broad questions and then asking very specific questions for complex and multiple objects. For a tree, you could ask: “Is this a real tree or a fantasy tree?” "How tall is it?" "Could you climb it if you wanted to?" "Is the season changing the colors of the leaves?" And then ask: “What shape are the tree leaves?” “How deep do the roots go? "How tough is the bark?” For multiple objects, you can start with the broad questions like: “How many objects are there?” “Do these objects share a common theme, such as being man made?” “How much space do these objects take up?” Then, you can ask more specific questions such as, “How fuzzy is this pillow?” and “How warm is this blanket?” At this point, I recommend thinking of your collection of objects as a separate room, scene, or space you can revisit. The more time you spend with a scene, the easier it is to recreate it. A wonderland scene can store a surprising amount of information as long as the rules you set are consistent. The more practice and time you invest in a scene, the more detailed your recollection will be and the easier it will be to visualize in the future. Suggestions/Tips If you are struggling with being bored, teleporting to a parade or a war zone can lead to you getting distracted and going back to having blurry images or a black screen. Unless you are prepared to flesh out a lot of intricate details very quickly, the task may be too overwhelming and you may start skipping details to keep up with the pace. The adrenaline rush can also break your focus. Instead of doing that, you should either move onto a more complex object or get creative and ask more interesting questions like “Is this sphere heavy enough to dent the floor of my wonderland?” If you don’t like the objects you are visualizing, why are you putting in the effort to visualize them at all? If a tree isn’t to your taste, you could also visualize furniture, a vending machine, a weapon, etc. using the same approach. When visualizing multiple objects, it is okay if an object only becomes crisp when you are paying attention to it. In real life, the human brain picks one point to focus on at any given time while everything else blurs out in the peripheral vision. As long as you know where everything should be and enough about those objects to know what they should look like up close, you’re doing it right. Visualizing moving objects can add another layer of complexity to make something more interesting. However, I don’t recommend loud or overwhelming objects early on because they can be distracting and downgrade your image resolution. Unless you are really comfortable with what your tulpa’s form looks like or you're really eager to visualize it, I don’t recommend starting off with that. Like any other complex object, their form may be too much for you to focus on right now, but it won’t be after you build your way up to that level of complexity. If your tulpa is sentient, they can guide you to look at certain things, or they may ask for you to visualize something for them. Why not, right? They may surprise you with a real treat! In Conclusion Once you feel comfortable with your visualization, have fun! Now that your visualizations are stable, go ahead and visualize exciting things like flying on dragons or shooting aliens in space. Chances are you forgot about your immediate surroundings in real life awhile ago. Submitted for Guides in the [Visualization] section. I may edit my guide again, there were a few changes I want to consider but haven't gotten around too yet. Old version: https://community.tulpa.info/topic/14524-how-to-refocus-on-your-wonderland-first-submission/ Pdf back-up of relaxation breathing website: Stress Management_ Breathing Exercises for Relaxation _ Michigan Medicine.pdf Change log:
  22. Hello everyone! I'm Renée and I'm from the UK. I found out about tulpas on Tuesday 2nd November and since then have been reading a lot about tulpamancy and creation. The past two days have been my journey to forming my tulpa named Marla. I've been narrating to her and trying to visualise her in my wonderland. Most of it has been passive forcing as I haven't had much time to sit down and solely focus on her. (I really want to though.) Last night (4th Nov) I wrote down 10 personality traits and about 3-4 likes and dislikes. However I know these may change overtime. It's a little difficult for me to visualise her while narrating as I can't focus on both at once. I struggle to visualise her when passive forcing too, however I'm hoping this will get better over time. I've been visualising her and sometimes I see her tilt her head slightly or make very faint, slight facial expressions. I even heard a little "hm" from her. At first I was a little apprehensive at thinking it was her but I'm going to believe it's her. I also thought I heard a little "night" before I went to sleep when visualising us in our wonderland. Im going to keep working on forcing and develop her form and personality. I'll keep you updated! >:)
  23. Hello! and welcome to tulpa toons here im just gonna post things like comics of what me and my tulpas did in wonderland, maps of places we've found/ created in wonderland, and little doodles of them. Feel free to post too!! have a nice day!! This is the start of my wonder land the lil place in the middle is town hall were me and my tulpas live I haven't worked on any rooms yet but i will pretty soon anyways..... Mayor.Spinkle
  24. Hello everyone. Faux and I have been working on imposition, and I’ve been struggling with visualizing him in the real world, without him fading in and out, and I’m also struggling with feeling him. We don’t have this trouble in the wonderland, it’s only when I visualize him with my eyes open. Any tips?
  25. Here’s some art I’ve drawn of faux. His name is FauxFur, which is funny, since it’s supposed to replicate fox, which is represented by his hair and mane. Anyways, enough of my rambling. Enjoy the art!
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