TgTE2bUM-_o.txt

Speaker 1:          00:00          Where you have to remember when you watch something like this movie, not a single bit of it is random or occidental, none of it because you know they had to draw, I don't remember how many frames per second these things are 30, maybe. Maybe it's a little less than that, but it's high quality automation and so someone had to paint 30 pictures to get a second of this. You're not doing that accidentally. It's really expensive and everyone has to agree on exactly what's going to happen and you might say, well, do the people who are doing this consciously know what they're doing? And that answer of that is well, sort of just like you do, you know it's yes they know and no they don't and they know because they're really smart and gifted and all that, but they don't know because it's not all articulated.

Speaker 1:          00:41          Plus they're working in a group so they know and don't know just like you do when you're watching it and so and and when you do anything else. So now they're also guided by what you might call. They're guided by their unconscious in the in the Friday and and in the cognitive way, partly because your unconscious value structures determine the direction and content of your perceptions and so it's built right into the way you move your eyes because you tend to look at things you value right or things you're afraid of, like you look at things with valence and part of the decision about what has value is dependent on the implicit structure of your moral system, your purse, because morality is about what's good and what isn't, and that's been partly a conscious construction of you, but it's partly something you've been. You've picked up by interacting with people like mad ever since you were born.

Speaker 1:          01:31          You don't know all the rules anymore than the damn cricket did. You just don't and you can't because you're too complicated, but you act them out and then you also have representations of how people act in your imagination. Dreams are. That's what a dream is. That's what a fantasy is. That's what that little movie that plays inside your head when you remember what you did is, and you only remember the just you know, so even the the images stick representation of your behavior in your past, which is basically your episodic memory. It's already selecting and molding and turning it into a relatable story. It can't help but do that. It's the only way you can represent it and so you don't know how you do that or why you do that, but part of it's governed by this implicit morality that's part of your procedural memory system, part of the way you act and part of the way you move your eyes and listen to things and focus on them and that's all been instantiated inside of you because of this immense social, your biology, but also this immense social project that you're continually engaged in and so that informs what you remembered.

Speaker 1:          02:34          It informs what you imagined. It informs what we collectively imagined. It informs what we can collectively understand and partly what you're doing well, you become conscious of yourself is to map the implicit structures that already constitute you from society into explicit representation. That's what self understanding means and you know when you have that moment of insight about you've done, it's like you're watching your this repetitive behavior that you've manifested probably that got you in trouble. You know it's your characteristic way of falling accidentally into chaos and you talk about your problems. You talk about them with your friends, you talk about them and maybe you have dreams about them and you're, you're trying to relate them and you have memories about them that you can't get rid of because they're negatively tones. So you talk about them and then someone comes up with a little statement that links them together causally and you think, oh, that's what I'm doing.

Speaker 1:          03:28          And then maybe you can stop doing it, or at least, or at least maybe. Then you can think of some strategies for not doing it anymore. But it's not like, you know, it's like you're acting it out. You know it that way. But until that's all, until the representation matches that pattern, that click of insight doesn't occur. And that's like a revelation. It's a really good way of thinking about it because the knowledge is there and it's implicit forum and all of a sudden bang. It's been made explicit as a fantasy maybe or also as a, as a set of semantic statements. You know, maybe you're, you have a crush on someone and you don't notice it. And maybe you find yourself having a fantasy about them. You Think, oh, that means something that indicates something. Maybe you don't want him to know that that's what you want.

Speaker 1:          04:16          But the fantasy will tell you. And one of the things you suggested, and this is sort of out of the Freudian tradition of free associations, is watch yourself. Watch your fantasies because they're always happening. And so, and they'll tell you something. And so one of the things I do when, when I'm interacting with my clients is we'll have a discussion and then they'll let their eyes will drift a little bit. And I'll know that there are somethings flitted through their mind, you know? And that means we've touched on something that has multiple, a multiplicity of elements, and so I'll stop and say, look, I noticed that you maybe you tear it up, that's another thing to really watch her. Maybe you laugh or you drifted. At least it's like it's because some other thought has entered your field of consciousness. And then if you can get the person to grab those thoughts to notice them, then you can often figure out the avenues along which that particular conversation might unfold.

Speaker 1:          05:08          That's a complex, that's a union complex or a psychoanalytic complex. It's like there's an emotional core that produces a whole range of associated ideas and that thing's got a life. It's like a micro personality and it might have resentment and it might have anger. It's often negative emotion tinge because the negative emotion tinge to episodes are still problems and they will emerge automatically because your threat detection systems force them onto your consciousness essentially. So you watch and where when you drift, you will drift. And the fantasy is partly a representation of the problem space. You know that happens when you wake up at three in the morning and you're worried about things, right? Because actually what happens is you wake up during threat processing and if you're depressed actually that gets so intense you can't sleep, so then you just lay there all night worrying, not fun, and those are fantasies about the negative elements of your past, present and future, and the fantasies can also breed solutions.

Speaker 1:          06:07          And that's partly why Freud regard dreams as wish fulfillments. It's partly that and he wasn't. That was where he stopped. It's not correct. It's partially correct. It's like the fantasy will provide you with a problem and a potential solution, but they're more like problem identification mechanisms. The fantasies with the possibility of a solution built in and so a way of thinking about that is that you can generate potential futures so they're like each segregated environments according to the rules of your fantasy. Then you can generate little avatars of yourself that didn't have at each of those little universes and you can run them as simulations and then you can watch what happens in the simulation and if it's a catastrophe then you don't have to act it out and that's exactly not exactly. That's akin to what you're doing when you go watch a movie, except that is much more coherent and well thought through, you know, and then than just a dream which is often quite fragmentary.

Speaker 1:          07:10          And that's partly because the dream is willing to sacrifice coherence to play with category structures, you know, and that's why in dreams things can change from one thing into another really weirdly or scenes can change from one scene to another without a logic. The logic gets loosened so that the experience of your thinking can widen and it's, it's, it's dangerous to do that. And that's partly why you do it when you're asleep and paralyzed, you know, you don't run around and act out your, your suit, a puddle fantasies, you know, where you're stretching yourself out into the world. There's no risk. Exactly. And so, although it can be bad enough, so you'll wake up in terror, you know, but that's better than being in a crocodile's mouth by a large margin.