Games Resolution by IDs

Games Resolution by Identities (GRID)

The following is an experimental procedure for releasing conflicting intentions and postulates from lighter incidents. If this technique seems to be insufficient or the student gets into trouble, one would shift to DEEP Incident Clearing of the same incident or one could address resistive identities using DEEP Character Clearing.

We have located an incident containing conflict or overwhelm. Now we want to release the charge from it. Various questions can be used to initially locate such situations in the student's past. This is covered elsewhere. But the first step is to have a situation at hand where two or more characters are in conflict; or where one character is being overwhelmed by something or someone.

Each character in play will have an intention (postulate.) For an intention to stick it has to be recorded in or on something. The mind uses emotions and efforts (in recorded form) as recording medium. By recording the intention, postulate or thought this way it can persist through time. The emotions and efforts we are talking about exist as tiny and light particles in the mind. They have mass and their physical nature can and have been measured. (Valerie Hunt, Wilhelm Reich, Ron Hubbard, Volney Mathison, and others.)
There is thus a package (a DEEP unit) of thought/intention, emotion/feeling, and effort/impulse surrounding each intention or postulate.
To release a postulate fully all three levels have to be addressed. The layers may have different dominance from situation to situation, depending on how rational/verbal, emotional or physical the situation is.
A DEEP Unit is a manifestation of the Being, a manifestation of consciousness. DEEP stands for Decision, Emotion, Effort, Polarity.
Decision is used for thought. It includes intentions, postulates, considerations, opinions, agreements, etc., all kinds of thought forms.
Emotion can be the pure emotions, such as expressed on the tone scale. It also covers feelings and anything emotional, including, urges, impressions, most sensations, etc., etc.
So we are talking about the emotional state, the state of mind, the attitude of the person when we talk about emotion.
Effort refers to a more gross and physical wavelength. It is the execution part of thought and emotion. Or simply physical force. Synonyms are physical energy, action, force, force vector, impact, etc. Pain is two efforts colliding. So many sensations will be in the effort band.
Polarity refers to any conflict or dissonance among the involved parties or forces. If one talks about vectors, we would see 2 or more vectors working against each other.
Thought, emotion and effort as a package or unit has mass. It has a tiny mental mass and the anatomy of mental mass is thought packaged in emotion and effort. To handle mental mass on the case, one simply has to contact and handle these packages. When we have DEEP packages in a confusion or in conflict the mental mass increases considerably as the sides lock up against each other and form ridges. Small ridges congregate and form larger ridges and it can become very confusing and appear like an impossible maze. The approach is to find a level where these DEEP units can be comfortably contacted and taken apart by discharging them.

Here are the steps, once a situation is located:

Games Resolution by Identities (GRID)

1. Briefly state the situation, mainly the conflict or interplay among the involved parties.
We focus on the roles and characters in play rather than the story.
2. List the parties and persons involved, including yourself.
It is a list of names, hats and characters. One would include other forces, such as a group pressure, a command intention, a boss or parent behind the scenes, a character dominating the situation without being physically present, and "now-I-am-supposed-to"s, etc.
3. Take the one with the longest read first, then the next longest, etc. (Unmetered: take the one most pressing or obvious.)
4. On that character (including yourself) find emotion, effort and intention/thought as they appear to you in that situation. This can all be found in your mind in recorded form. You take the element first that seems to offer itself. So there is no set order. If none seems to offer itself more, start with emotion.

Note 1: Often you will experience own reactions to, say, a character acting against you. You can go back and forth, discharging your own reaction to that. One can check for this from time to time. The going back and forth releases the vectors working against each other in a ridge. This is not necessarily done after first vector is flat, as one is dealing with a confusion of vectors. One flattens the vector available when it is available.

Note 2: The person may bring up an additional incident as the emotions, efforts, and thoughts appear in both. Have the person freely talk about that experience without interruption and simply acknowledge when the statement is finished. Then simply return to the item you were working on: "experience that (original) emotion," until it is flat.

Note 3: Often you have an incident with several scenes. Simply take the first scene and flatten that. Then the next scene and flatten that, etc.

4A. What is the emotion or feeling of that character?
(It can be any emotion or feeling. Examples: anger, fear, spaced out, cautious, distracted, like dancing, etc., etc.)
      Tune into that emotion/feeling carefully.
      Experience that emotion/feeling (this can be said repeatedly till flat)
      Any other emotion or feeling in that character? etc.
(You can ask where the emotion is impacting the body physically in present time, and otherwise have the student describe it in physical terms:
location, density, vibration, color, temperature, shape, weight, motion, impact. etc.)

Note: Check reaction on the counter-part as appropriate.

4B. Are there any sensations, cravings or pains in that character?
Sensations are a variety of signals sensed with the body rather than the traditional senses. It can be danger signals the body originates. It can be bodily cravings and satisfactions of cravings. Examples: hunger, thirst, cravings for stimulants (sugar, drugs, alcohol, tobacco, sex, perverted or odd needs, etc.) It can also be mental sensations. In games we find the excitement or despair experienced by players and spectators. Dennis Stephens talks about each type of game (goals package) has its own unique sensation.
      Tune into that sensation/craving/pain carefully.
      Experience that sensation/craving/pain (this can be said repeatedly till flat)
      Any other sensation/craving/pain in that character? etc.
(You can ask where the sensation/craving/pain is impacting the body physically in present time, and otherwise have the student describe it in physical terms:
location, density, vibration, color, temperature, shape, weight, motion, impact. etc.
Also message and mood.)

Note: Check reaction on the counter-part as appropriate.

4C. What is the effort or impulse of that character?
Show me that effort or impulse (acting it out) (this can be asked for repeatedly till flat.)
(It can be impulses like strangling the other, jumping around, deliver a punch, giving a hug, etc. One can also take up own reactions to another person's efforts
and impulses.)

Note: Check reaction on the counter-part as appropriate.

4D. What is the intention or thought of that character in the situation?
       Can you put that into words?
       (You can flatten it by having the character do repeating on it.)
        ("Have the character say:...." .... "Thank you." "And again" .... "Thank you.") repeating it till flat. Practitioner acknowledges each repetition. He may ask for
        emotion/feeling, etc. connected with intention/thought.

Note: Check reaction on the counter-part as appropriate.

Step 3
This is done after the characters are run through steps 3-4

1. Run Ideal Scenes of own identity and principal opponent, one after the other.
Once the different sides of the conflict is run we run the ideal scenes by Identities (ISID). Typically we have a conflict of two characters, each trying to win, each trying to overpower the other.
On this step, however, we have each side express their ideal scene-- each getting it their way in the incident--without interruption from the other. Instead of two (or more) flows colliding and creating a ridge, we have the sides taking turns while the other side is simply standing by and possibly duplicating the opponent's reality. In this way any collision of flows gets untangled and the elements on each side are filed in good order in the mind. To have the other side acknowledge the opponent's ideal scene is a good idea and can be added.

2. Run Ideal Scenes on any other character in the incident that is still charged and has a different Ideal Scene

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Ideal Scenes (formerly Creative Havingness)

Ideal Scenes, general form (ISG) can be run anytime. It's function is to have the person replace the masses that are as-is-ed in processing.
It is especially used when: 1) the session is getting rough and 2) at end of session.
One can run it unspecified as listed below. One can also ad a subject "Imagine something nice
regarding....(your marriage). And it can be run from other viewpoints: "Have XYZ imagine something nice."
It is used as an universal remedy and lubricant to get the processing to run smoothly.

1. Imagine something nice.
2. make it very real.
3. Make it even nicer adding some new features.
4. Pull it in on you and experience the mass.
5. Disperse it around you.
6. Wipe the slate clean.

Ideal Scenes by Identities (ISID)
In this version the process is run from the viewpoint of an identity, including the identity the student is occupying in a specific incident.
If one has just run out an incident with 3 significant persons in it, A (the student as a helper), B (uncle Bill), and C (aunt Mary),
One can run it from each of the persons' viewpoints: the helper, uncle Bill, and aunt Mary. For example:

1. Have uncle Bill imagine his ideal scene.
2. Have uncle Bill make it very real.
3. Have uncle Bill make it even nicer adding some new features.
4. Have B pull it in on him/her and experience the mass.
5. Have uncle Bill disperse it around him/her.
6. Wipe your (the student's) slate clean.

Running Ideal Scenes after an incident with two opponents produces significant gains.
You run ISID from own viewpoint (what did you want in the incident) and then from the opponent's viewpoint
(what did he/she want in the incident). It brings out the conflicting goals completely as an ideal scene is a clear cut statement of the goal the identity has in the incidentIt. The step tends to further discharge the incident and file all the elements in play in good order in the mind.

Notes on GRID
Sometimes you may wonder, if the goals and ideal scenes in an incident is a match with what you asked for. Say, you asked for an incident "Forced to help" but logically nobody forced anyone to help. The rule is that you run whatever incident surfaces. Here on the question "Get a situation where you were forced to help." The automatic answers that the subconscious offers you, always have some relevance to the question--even when it does not seem to be logical or "correct." Just keep at it and the obsessive games conditions around "Help" or the inability to play the games of Help will clear up.

If you have gone through all the steps and there still seems to be something unresolved, such as negative emotion on the part of self, try to view the incident from a higher viewpoint.
"View the situation from your higher self;" or "View the situation from a pan-determined viewpoint;" Or view the situation from God's viewpoint."

Ideal Scenes (IS)

Ideal Scenes can be run anytime. One function of Ideal Scenes is to have the person replace the mental masses that have disappeared in processing. Inspecting these masses closely tend to make them disappear. The person had actually created them in the first place and viewing them closely in session makes the person intuitively understand that. The person gains control over them and pooff the unwanted and obsessively held masses disappear. By doing Ideal Scenes, the General version (ISG) the person creates more agreeable masses that are fully under his/her control.

Ideal scenes General form (ISG) can be used any time the student feels uncomfortable in session as it tends to repair that. Usually one would finish the step one is doing and then do ISG for a while until the discomfort has gone away. Another good use is to use it as a routine at session end. This action fills in the vacuum in the mind that the general processing may have created. One replaces the bad masses (obsessive masses related to overwhelms) with good masses, masses of nice sceneries etc. that the student knowingly creates and controls.
So Ideal Scenes General form, ISG, is typically used when: 1) the session is getting rough and 3) at end of session. It goes like this:

1. Imagine something nice.
2. make it very real.
3. Make it even nicer adding some new features.
4. Pull it in on you and experience the mass.
5. Disperse it around you.
6. Wipe the slate clean.

Step 1, "Imagine something nice." The person will often pick something from the past and that is ok but is not entirely where we want to go with this technique.

Step 2, "Make it very real." The person should fill in details, add color and sound, maybe motion and emotion. Of course, different persons have different abilities in this regard and each student is just required to do it as well as possible for him/her.

Step 3, What we want is that the student creates the scene, rather than picking something from the past. So on this step the student at least has to ad created features and details to the scene from step 1. Just let the person pick what comes naturally on step 1 and then insist on this step 3 that he/she ads something of his/her own imagination.

Step 4, "Pull it in and experience the mass." Any imagined scene has mental mass, even if tiny. It can be measured on a bio-monitor (skin galvanometer, e-meter.) By pulling it in knowingly, the student gets a subjective reality on this. By pulling it in, it also tends to make the obsessive masses move away; that is, those obsessive masses that are not already totally resolved.
One can actually raise the mood of a person by running a lot of ISG. All the masses of worries and bad memories tend to be pushed away and this makes the person feel better and more fit for fight, so to speak.

Step 5, "Disperse it all around you" is sometimes controversial. The student has this favorite scene and he/she doesn't really want to let it go. The idea with dispersing it isn't to send it completely away but let it float around the student so it is within reach and can be pulled up at any time. If the student protests this step, explain this or skip the step at your discretion.

Step 6, "Wipe the slate clean." You want to make room for next round of IS, you want to free up the student's attention. So you get rid of what he/she just created and are ready for doing a round more of (IS), or move onto something else in session, or simply end the session.

Ideal Scenes by Subject (ISS) This is a variation of ISG. The coach directs the student's creativity to a certain area relevant to the material just processed. Say, one has just processed material related to a bad relationship or marriage. The coach may now run: "regarding your marriage, Imagine something nice," and then go thorough the following steps as normal. ISS can be used in different ways and at different times. It takes a bit of experience to get the feel of when to use it. But adding a subject to Ideal Scenes often makes it easier on the student and enables him/her to replace those bad masses that has just been processed out with some relevant good masses that now fills the empty spot.

1. Regarding _____ Imagine something nice.
2. make it very real.
3. Make it even nicer adding some new features.
4. Pull it in on you and experience the mass.
5. Disperse it around you.
6. Wipe the slate clean.

Ideal Scenes by Identities (ISID). This is an important step of running incidents with Games Resolution.
In ISID, the Ideal Scene of each identity is run from the viewpoint of that identity. It includes the identity the student is occupying in a specific incident.
If one has just run an incident with 3 significant persons in it, A (the student as a helper), B (uncle Bill), and C (aunt Mary), one now runs ISID from each identity's viewpoint: Your ID in the incident (the helper), uncle Bill, and aunt Mary.
In Games Resolution we have just looked at the conflict and things may still be messy. In this action we have each side express his/her ideal scene-- each expressing the reality of getting it their way in the incident. Without interruptions each character in turn takes center stage and expresses their ideal scene, what they wanted but didn't come through with. Instead of two (or more) flows colliding and creating a ridge, we here have the sides taking turns while the other sides are simply standing by and possibly getting what the opponent's reality was. In this way any collision of flows gets untangled and the elements on each side are filed in good order in the mind. So we have residual masses that get energized and viewed in this action and thus handled one step further.
To have the other side acknowledge the opponent's ideal scene is a good idea and can be added.

Own Identity

1. Have your ID imagine something nice.
2. Have your ID make it very real.
3. Have your ID make it even nicer adding some new features.
4. Have your ID pull it in on him/her and experience the mass.
5. Have your ID disperse it around it
6. Wipe your slate clean.
Note: You can ad: "have (opponent) acknowledge that" after each step or as appropriate.

One may wonder, why use "Your Identity" instead of just use the plain "Imagine something nice."
It is simply to underscore, that the person is not the identity. An identity is something the person takes on -- like a suit, a role or mask, if you will.
It is a creation residing in the person's mind. We make this distinction in the wording to point this out. Also, sometimes the identity can be perceived as a location or mass in the person's space. You need not pay much attention to these phenomena. But running it this way will over time accustom the person to this distinction and make it easier for him/her to spot identities, roles and masks he/she may wear in other incidents.

Other Identities

1. Have (uncle Bill) imagine something nice.
2. Have (uncle Bill) make it very real.
3. Have (uncle Bill) make it even nicer adding some new features.
4. Have (uncle Bill) pull it in on him/her and experience the mass.
5. Have(uncle Bill) disperse it around him/her.
6. Wipe your (the student's) slate clean.
Note: You can ad: "have your ID acknowledge that" after each step or as appropriate.

Running Ideal Scenes by Identities after the opposing identities have been worked over and discharged produces significant gains.
It tends to further discharge the incident and file all the elements in play in good order in the mind.

Note
It has been pointed out, that a further step after running GRID and Ideal Scenes by Identities could be to write the whole story up.
One would run the above procedures in session and after session one would spend some time simply writing up what happened in the incident. It has been reported to be very therapeutic.
If one would tempt to run the processes solo, this is certainly advised. One could probably take any traumatic or stressful incident, run it through the steps, end session, and then spend some time writing its story up and achieve genuine relief and very good results from this.