Límites y extensión del deber legal de conservación

CAPÍTULO I: DISPOSICIONES GENERALES Artículo 1.- Competencia

Artículo 5.- Límites y extensión del deber legal de conservación

the Get the Girl! Manual taught us that any value we present must always be subcommunicated. if you’ll recall, subcommunication is any information we convey or messages we send which occurs below the overt level. We subcommunicate with voice tone, body language, facial expressions, how we kino, how we pause when we speak, who we’re with, the subtexts in what we say, and much, much more.

there are literally thousands of different ways to subcommunicate information.

the difficulty in teaching subcommunication up until now largely stemmed from the fact that there was no established way to describe not only what you said, but what you subcommunicated.

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Multi-channel Notation fixes this. We accomplish this by specifying an attractive quality to

subcommunicate along with the appropriate delivery instructions in parentheses. For example, here is the notation for higher energy/Fun:

Higher energy/Fun (louder, big smile,

energy slightly higher than the set)

Now let’ s incorporate this style of notation into the space alien example:

“ You are the hottest higher energy(louder, big smile) … space alien i’ve met all night chill(flat voice tone, smiling) … no, seriously … this GirL is GorGeoUs mischief(i’m messing with you guys voice tone) (sideways hug on shB space alien) for being green on the inside chill(flat voice tone, smiling) … did she pee on the carpet (release hug) when you guys first adopted her genuine (warm voice tone) … because mine did.”

Now let’s attempt to add in notation for Giving Value (GV), takeaways (t), and directives (d) so that you can see the Microloops just on the verbal channel.

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“You are the hottest higher energy(louder, big smile)^GV … space alien i’ve met all night chill(flat voice tone, smiling) ^t … no, seriously … this GirL is GorGeoUs mischief(i’m messing with you guys voice tone)^GV (sideways hug on shB space alien) for being green on the inside chill(flat voice tone, smiling)^t … did she pee on the carpet (release hug) when you guys first adopted her genuine (warm voice tone)

t+d(i’m asking a question) … because mine did^GV.”

As you can see, this is turning into a huge mess and we haven’t even begun to show you the other channels. Yet all this information is crucial to success. the problem lies in the fact that we’re trying to convey multiple pieces of information which co-exist simultaneously (verbals, subcommunication, and kino) in a medium which doesn’t coherently allow it. in essence, we’re trying to cram all the notes for all the instruments in a symphony onto one bar of sheet music.

clearly, we need something better.

Allow me to (drum roll please) introduce to you

… the dynamics of Natural Attraction (dNA) code. in this system, each communication channel

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(verbal, kino, subcom, etc) is presented on its own bar, exactly the way each instrument in a symphony is shown on the sheet music. if you’re not a music person or don’t get that analogy, don’t worry, it’ll become clear in a minute.

Let’s ignore the Kino channel for a second and write out the “space Alien” tease in two-channel dNA code showing the verbals (P(v)) and subcommunications (P(sub)) channels on each line.

think of it like a mini table, where each segment of what you say accompanies what you should do on the other channels. so in the example below, “You are the hottest” is the verbal communication.

the subcommunication channel (the line below it) shows that when you say this part, you want to do it with higher energy. Additional channels go on their own lines and vertically line up in the same manner.

the ellipses ( … ) denote pauses of 1/3 to a full second:

P(v) “You are the HoTTEST …space alien I’ve met all night…no, seriously…”

(sub) higher energy (louder, big smile) chill (flat, relaxed, constant pitch and tonality).

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Now let’s further simplify this notation by omitting the delivery details (e.g. “louder, big smile”) since they always stay the same, and adding the microloop labeling as follows:

P(v) “You are the HoTTEST … space alien I’ve met all night … no, seriously … ” P(sub) higher energy^(GV) _______ chill^(t) ___________________________________

P(v) “This girl is gorgeous … for being green on the inside … ” P(sub) Mischief^(GV) _____________ chill^(t) ___________________________________

P(v) “Did she pee on the carpet when you guys first adopted her?”

P(sub) Genuine (delivered deadpan)^(t) ______________________^(d)

P(v) “Because mine did.”

P(sub) chill^(t) ____________

Note how thorough this notation is in describing each detail of your subcommunication. Not only are we telling you how to deliver your verbals, but we’re also giving you instruction on what to subcommunicate when you’re not talking. this is

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monstrously important as it’s often these tiny details which make or break a borderline set.

As i analyzed my own sets by transcribing them using the dNA code, i noticed something interesting. When i started writing everything down using 2-channel notation, i started to realize how certain delivery patterns give loads of emotional value.

if we rewrite our space alien example without the verbals you’ll see the following subcommunication patterns:

P(sub) higher energy^(GV) ___________ chill^(t) ____________________

P(sub) Mischief^(GV) ________________ chill^(t) ____________________

P(sub) Genuine (delivered deadpan)^(t) Genuine (delivered deadpan)^(d) P(sub) chill^(t) ________________________________________________

there’s a clear pattern here. see how the communication mixes higher and lower energy styles? What i realized is that when you vary your delivery like this, it subcommunicates even more attractive qualities—like the ambiguity and mystery necessary to maintain the evil clown frame³⁰.

30 evil clown Frame: the attitude of self amusement.

see chapter 3 or Glossary for more details.

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For now, pay attention to the patterns you see in the notation—noticing these patterns will allow you to intuitively learn them over time so that eventually your subcommunication will allow you to talk about nothing and still sound absolutely fascinating.

h o M e w o R K d r i l l :

Now you’ll get a chance to listen to the audio portion of the book where i deliver the space alien routine reading it directly off the page—note how subtle the delivery shifts are. But also note how powerful the overall effect is.

rehearse the routine to yourself a few times, then record it and try to emulate my delivery as much as possible. You will eventually arrive at your own variation, but you’ll have mastered the fundamentals by practicing and imitating my delivery.

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5 CHANNEL DNA CoDE—P(V), P(k), P (V-SuB), P (k-SuB), S(V)

in the 2 channel example above i showed you a notation that allows for understanding the precise, coordinated timing of subcommunication delivery and verbals. that in itself will improve your game … but we need more tools so that you know exactly when and how to escalate.

remember that escalation is nothing more than getting compliance on kinesthetic microloops. in order to model the various elements of escalation, we need to be able to show the kino and kino

subcommunication channels.

Note that every physical communication channel can have its own subcommunication channel. the P(sub) from the examples in the previous section are really P(v-sub) as they represent your

verbal subcommunication. to really show all of the details of kino, we’re going to add two more channels: Kinesthetic P(k) and the Kinesthetic subcommunications P(k-sub).

continuing our example, here’s the 4-channel version of the “space Alien” tease:

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Note: Blank cells indicate no conscious

communication on that channel at that point in time.

P(v) “You are the hottest … space alien I’ve met all night … no, seriously …”

P(v-sub) higher energy^(GV) ___ chill^(t) ________________________________________________

P(v) “This girl is gorgeous …for being green on the inside…”

P(v-sub) Mischief^(GV) _________ Chill^(T) ________________________________________________

P(k) Start sideways hug Increase Hug Intensity__________________________________

P(k-sub) dominance (firm, unshaky kino)^(d) _______^(GV) ___________________________

P(v) “Did she pee on the carpet when you guys first adopted her?...”

P(v-sub) Genuine^(T)___________________________________________________________________ ^(D) P(k) _____________________________ End Hug

P(k-sub) dominance^(GV) _ Un-needy^(t) _____________________________

P(v) “Because mine did.”

P(v-sub) chill^(t) ___________

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in order to keep thing simple we’ve only shown the kino channel when it was happening.

And there you have it, folks, the beginning of your understanding of the true power of multi-channel social interaction.

Note the following:

1. the kinesthetic channel shows one complete Microloop. it begins with a directive

(when you initiate the hug), then moves into a rapid value-exchange loop through your mutual physical contact. this occurs because whenever you touch each other, you automatically exchange value due to the psychological reaction of physical human contact. the Microloop then finishes with a takeaway (ending the kino).

2. it’s important to pay attention to the timing of when we started the kino Microloop. if the kino was started right at the beginning, it’d be less likely to work.

But because we’ve given some emotional value on the verbal channel first, we’re much more likely to get compliance. Note that the kino Microloop begins right at the peak of the value-giving power meter. this is the Law of instant compliance at work. if you make

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any reasonable kino request when plowing value, your request will always be granted.

this routine’s extremely high level of effectiveness is derived by following that law.

3. Note all of the extra subcommunications that we identified on the second channel. We were able to subcommunicate dominance, un-neediness, and other traits in addition to the subcommunication from our verbals.

there’s a pattern here that we can visually depict using a variation of the notation:

P(v) <plow emotional value> _______ (value peak)

P(k) <begin kino>

As explained in the “Microloop theory Basics”

section, when we cycle giving value and takeaways, we tease, which gives more and more value over time. then, right at the peak of the value, we spin off a kinesthetic simultaneous microloop³¹. the pattern you are seeing here is a more precise, highly practical depiction of Figure 10: The

Simultaneous Microloop.

31. A value exchange occurring on multiple channels, at least one of them being kinesthetic.

For example, giving value on the verbal channel while escalating (getting compliance) on the kinesthetic channel.

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You’ll be using this pattern constantly until you can initiate kino and always get compliance without having to say anything. But until that happens, everything works with this pattern.

the timing i’m revealing here isn’t theoretical ramblings. it’s hard, field-tested fact. the laws of the Microloop were derived from hard-fought, empirical observations, not the other way around.

in fact, the pattern is so common that we’ll use 2-channel dNA code with P(v) and P(k) to describe just about every kino routine out there. it’s really simple once you’ve already internalized the subcommunication:

P(v) “You are the hottest …space alien I’ve met all night…no, seriously … ”

P(v) “This girl is gorgeous …for being green on the inside…”

P(k)

start sideways hug increase hug intensity

P(v) “Did she pee on the carpet when you guys first adopted her?...”

P(k) ______________________________ end hug

P(v) “Because mine did.”

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that’s the beauty of the notation - you can depict certain channels and ignore others in order to focus on specific aspects of the game. or you can depict the entire interaction all at once as if you are reading the music for a symphony. this is very appropriate as truly skilled pickup is a one-man symphony of multi-channel communication.

Now we add the verbal communication from the Group (set) as s(v). here’s what 5 channel dNA code with set Verbals looks like:

P(v) “You are the hottest” “…space alien I’ve met all night…no, seriously…”

P(v-sub) higher energy^(GV) chill^(t)

S(v) (girls laugh)

P(v) “This girl is gorgeous …for being green on the inside…”

P(v-sub) Mischief^(GV) ____________ Chill^(T) ___________________________

P(k) Start sideways hug --- Increase Hug Intensity P(k-sub) Dominance (firm, unshaky kino)^(D) _____________ ^(GV)_________________

S(v) “totally … ”

Note how i give them a second to respond, and then i being my new delivery toward the

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end of their responses. this keeps control of the set and further subcommunicates dominance while discouraging interruptions. it takes field practice to perfect the timing, but it’s ultimately very important. When you wait too long, you‘ll feel the “uncomfortable silence” effect.

Now that you understand dNA code and have grasped some of the subcommunication and delivery patterns that the notation can teach you, we’re going to examine how the three elements of Group Attraction work with dNA code.

In document 3Lc11K71894Mj-AauX8ZcKqGj0YHvDijgf8+AkQ. Fecha documento: 29 de Julio de 2022 (página 53-56)