Cinética de crecimiento de la cepa 22 en el medio MSB

To improve your visual senses, look at any image, then close your eyes and recreate that image in your mind’s eye. Open your eyes once again and notice what you got right and what you left out. Then close your eyes and do it again. This will improve your visual acuity. Start with simple pictures then move on to more complex images.

For added fun, turn this into a partner drill. Stare at a picture of scenery for thirty seconds then close your eyes. Your partner will then ask you questions about the details. Find out how many you can get right, then pick a new picture and switch roles.

To improve your auditory senses sit somewhere where there are lots of sounds.

After listening for a short amount of time, try to recreate all the noises in your mind. A public place can be wonderful for this drill. Note that by removing one of your senses, like closing your eyes, you can often pay more attention to the sounds.

You can also listen to a segment of one song or piece of music. How well can you recreate the singing and different instruments in your mind? These drills will improve your auditory acuity.

To improve your kinesthetic senses, the gym is a great place to start. Do an exercise while getting in tune with what you feel. Then close your eyes and recreate those same sensations in your mind. You can practice this back and forth and with many different exercises. This will improve your kinesthetic acuity. You’ll also probably notice that the exercise becomes easier or smoother to do in reality.

You can practice your visualization skills and the skills that you want to improve, like in the gym, at the same time. This is a great way to kill two birds with one stone.

(Go ahead and make a picture in your mind of that common saying. What details do you notice? Also pay attention to whether you created a picture of it before I asked you to picture it, or if you just processed the statement. Since it’s a well known saying,

you may have glossed over it. But what if I told you to kill thirteen rhinoceros with a boulder?)

s UbModalities

We’ve covered the primary senses also known as modalities. You will need to practice drills like those we’ve previously described to get much better results. In this section, we’ll further discuss the details of the senses. Each sense can be broken down into submodalities—the qualities of each sense that contribute to the overall picture.

Submodalities have a tremendous influence on the quality and results of your visualizations. They form the context while you’re visualizing the content. Remember, how you visualize is more important than what you visualize. Submodalities form the base of how.

Below you’ll find descriptions of many submodalities used in visualization, and how they can impact what occurs.

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Let’s say you’re trying to learn a skill that is somewhat complex, such as an Olympic snatch. When coaching the Olympic snatch, the movement is broken up into different steps; the initial pull, the second pull, and getting under the weight. If you’re beginning to learn this skill, it is best to break up the entire picture into manageable chunks. If we’re visualizing, trying to pay attention to the visuals, sounds and feel of the skill, then it’s easy to lose our attention of all the details. With this lack of focus, you won’t get optimal results.

So, instead of trying to visualize it all at once, break the skill down into small chunks that you can do and start with the first one. With that small chunk, bring in all the senses. To break it down further, use one sense at a time until you’ve mastered it, then add them all together. When you’ve mastered that chunk, move onto the next one until you’ve mastered each chunk in order. Once you’re doing well with all of them individually, add two together and work with them until the combination is perfect.

Then add the next part and so on, until you have the complete movement sequence.

Although this may seem like a long process, it will give you better and faster results than just working on the whole picture—and thus leaving out important details. Even with simple exercises like the deadlift, breaking the exercise into manageable parts can still be warranted.

With any complex skill, like a martial arts movement, you definitely need to study enough to visualize it properly. If you don’t know the correct steps, you will not be able to recreate them in your mind. The more intimate you are with the details, the better you know it, and the more effective your visualization will be.

In his book, 2001: A Sports Odyssey, Dr. Judd Biasiotto talks about re-learning his squat technique. Due to an injury, he had to change how he was squatting. He actually videotaped his squat and had a friend take each frame of video and turn it into a flipbook. He even drew the different muscles that were activated at different portions of the lift. Even though a squat doesn’t take long, you can imagine that creating a picture for each frame was quite the undertaking. You could think of each frame as a different part of the movement. By going through this entire process and studying it, Dr. Biasiotto was able to better visualize every little part of it, and fully understand which muscles were activated at each point of the lift. Do you think this could aid in your kinesthetic visualization? The new found muscle control and awareness allowed him to achieve an amazingly high level of strength. He also completely changed his technique through this practice.

Do you need to go this far with your efforts? No. If you did, it would be good for achieving optimal results on something that matters as much to you as the squat did to Dr. Biasiotto, a competitive powerlifter. But it’s not necessary to go quite as far as he did with the exercise. Certainly, videotaping yourself and reviewing your form will help your visualizations. Breaking the movement into its component parts will help as well. Then make your visualizations as vivid as possible and keep practicing.

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How fast is the movie running in your mind? The basic way to visualize is to “run”

this mental movie in real time. Move as fast or as slow in the visualization as you do in real life with the same movement.

However, if you’re starting out with anything, especially complex movements, slow it down. In your imagination, you can slow the time by half, or even to a quarter speed.

Get each piece of that picture right as well as how you feel it in your body, and then as you improve, gradually speed it up to real time. You are the editor in your mind, thus you can easily rewind, fast forward, play in slow-motion, and skip frames as needed.

Would you actually want to go faster at any point than in real time? I think this can be useful for working on speeding up the movement or exercise. If you can do it faster in your mind while maintaining all the senses properly, that will actually train your body to go faster.

I used this approach specifically for my kettlebell snatch work. It wasn’t fun to spend ten minutes visualizing every rep of 300 snatches with a 24kg kettlebell, but that type of practice was partly responsible for me achieving the goal. Since speed was a big factor, it was used in my visualizations, and often took only nine minutes to do it in my mind.

There are different uses for slow speeds, fast speeds and real-time speeds. Use them when and where needed.

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Another submodality is black and white versus color. We’re not likely to spend a lot of time with color, since it doesn’t suit our goals. There are some therapeutic uses for going into black and white since it can help dissociate you from the picture to make it less powerful than before. This is useful for removing the emotional charge around a failure or trauma in the past.

But, I wanted to bring it up because some people naturally visualize in black and white while visualizing in color—as it occurs in real life—will be more powerful. So if you visualize in black and white, definitely switch it over into color. If this is difficult for you, just do the drills as before and separate it into parts. Add a single color at a time, or focus on small objects instead of complete and complex pictures at first.

Another factor that comes into play is the brightness of the colors. That factor will be covered in the Intensity section.