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The Einstein Factor
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DISCLAIMER: The contents of this workbook and on the tape are solely the opinions of the author. Individuals who are delusional or severely emotionally disturbed should not attempt these exercises, unless they are done under the close supervision of a licensed therapist. Should any painful or difficult memories arise as a result of Image-Streaming or any other technique discussed in this program, it is recommended that you seek the aid of a licensed therapist.
Producer: Dave Kuenstle
Guidebook Created by: Theresa Puskar
Win Wenger, Ph.D., author of several books on the study of genius, including Discovering the Obvious and How To Increase Your Intelligence, and co-author of The Einstein Factor, has discovered that we can, in fact, improve our intelligence. Renowned in his field, he has been studying these intelligence-acceleration techniques for over 30 years.
He explains that if brain injury can negatively affect brain functioning, then intelligence inducing exercises can likewise stimulate brain functions for improved performance. As he shares his passion and delight in the discoveries that he has made regarding accelerated learning and the study of the mind, Win Wenger will inevitably draw you into your own experiential experiments that will undoubtedly lead you to your own conclusions; results that may astonish you.
In this program Win Wenger gives you captivating historical stories of geniuses such as Albert Einstein, along with empirical evidence that supports his theory of one’s ability to improve their intelligence (reminding you that the IQ is only one partial measure of intellectual aptitude). In addition, he provides you with experiential exercises that you can do to actually substantially improve your IQ.
This guidebook should be used as a tool to aid you in further exploration into the powers of your own genius mind. Some of the processes may seem a bit of a stretch, but like the exceptional geniuses before you, you are encouraged to open your mind and have fun exploring the extraordinary world of possibilities. It cannot be emphasized enough how necessary it is to do these experiential exercises to get the full benefit of this powerful audio program. Take the time to work your way through this guidebook and actually practice and experiment with the exercises that are provided. First and foremost, enjoy this journey of discovery you are about to embark upon.
Contents
Session 1: Are You a Genius? Yes!1
Session 2: Dreaming, the Subconscious, and Image Streaming. 4
Session 3: Ways to Open and Improve Your Image Stream with Velvety Smooth Breathing20
Session 4: Image Streaming. 29
Session 5: More Techniques to Improve Your Image Stream.. 41
Session 6: Feedback - Your Portable Memory Bank. 61
Session 7: Feedback - Looking at Things Differently. 66
Session 8: Techniques to Build Your Powers of Understanding. 81
Session 9: Image Streaming to Overcome Creative Blocks. 88
Session 10: An Exercise to Ingeniously Solve Problems. 94
Session 11: The Borrowed Genius Exercise. 99
Session 12: Beyond the Borrowed Genius. 103
Session 13: The Beachhead Process for Creativity and Inventions. 106
Session 14: Your Breath is Your Brain’s Pacemaker109
Additional Material111
GLOSSARY OF TERMS AND SUPPORT MATERIALS. 121
Image-Streaming. 121
Lucid Dreaming. 121
Painting Word Pictures. 121
Portable Memory Bank. 121
Velvety Smooth Breathing. 121
BOOKS. . 122
Creative Education Foundation. 122
Session 1: Are You a Genius? Yes!
In this session, Win Wenger shares a fascinating story of the mind’s capacity. He points out that mathematician, John Von Neumann once calculated that the human brain can store up to two hundred and eighty quintillion (280,000,000,000,000,000,000) bits of memory. He informs us that we all have a defensive relax factor he calls the squelcher, that blocks us from achieving our full mental capacity. He explains that from an early age the majority of us are taught to ignore the stream of perceptions that come to us from our unconscious mind, very valuable insights that we have come to pay little or no attention to.
1. Win describes an experience in which a student has an image of a faulty tire. This image actually saves him from a potentially serious accident. Have you ever had a perception that seemed to have come from your subconscious that related important information to you? Do you know someone who has had such an experience? Write about any similar experiences below.
2. Win asserts that close to 100 percent of your memories have been stored in your subconscious. Have you ever had an experience - a dream, a daydream, or simply a flash in your mind’s eye, of a memory from many years prior? Write about the experience below.
3. Win cites several instances in which their teachers and peers considered world-renowned geniuses slow and unintelligent. He explains that evidence seems to show that it is in the various areas that you appear to struggle intellectually that you will often find your special genius. In what areas do you feel that you struggle most intellectually?
4. Experimentation with rats concluded that high stimulus environments not only elongated the lives of the rats, but also increased their brains in size. This phenomenon concluded that the number of inner connections between neurons in the brain (called synapses), stimulated by mental exercise were the real measure of genius. An abundance of synapses were also discovered in Einstein’s brain. Given the importance of intellectual stimuli to your well-being, on a scale from 1 to 10 (1 being low and 10 being high), how much do you stimulate your brain on a regular basis? Below list 3 ways in which you can further stimulate your brain on a daily basis.
5. Einstein believed that you could stimulate ingenious thought by allowing your imagination to float freely, unrestrained by conventional inhibitions. It was discovered that verbal and mathematical representation of his thoughts came only after the important creative thinking was done. How much do you allow yourself to creatively think? Do you ever consciously daydream, meditate, or do creative visualization exercises? If so, how much do you do each week? If not, commit to doing this at least 15 minutes per day for a week. Chart your experiences below.
6. Win cited a situation in which he helped a boy greatly improve his baseball batting average by having the boy imagine a tiny fly speck on the baseball, and aiming the bat at the fly speck rather than the ball itself. Can you come up with a similar success formula for one of your activities, making use of this focus and concentration technique (or Einstein Factor)? Outline it below.
7. Were there any discouraging messages you were given in your youth regarding your intelligence and potential? If so, do not be discouraged. You are in good company as many famous geniuses were discouraged as well. List below some of these messages that you received.
8. Win reminds you that your confidence is often squelched by conventional education and job training as you learn to suppress your natural genius. Do you remember any dreams that you had as a child or adolescent that you did not pursue because you became discouraged? Explore those shelved dreams in the space below.
Session 2: Dreaming, the Subconscious, and Image Streaming
9. In this session Elias Howe’s sewing machine problem was solved in a dream, as the cannibals chased him with spears that had holes at their tips, suggesting that he move the eyehole of the needles in his sewing machines to the tip as opposed to the centre. Dreams can be very powerful problem solvers. Have you ever had a similar experience? If so, describe it below.
10. Lucid dreaming can be extremely beneficial. Try this exercise. In your awakened state through the day, ask yourself, “Is this a dream?” Once this habit becomes ingrained, you will eventually remember to ask yourself the same question while dreaming. Continue this exercise until you answer in your dream, “Yes, this is a dream.” This state is known as lucid dreaming. How many days did you follow this exercise before you responded in your dream state? What was your experience in the lucid dream? Record your findings below.
11. The first law of behavioural psychology is that you get more of what you reinforce. Based on this theory, Win states that by following this exercise, you will begin to remember your dreams if you don’t already do so. Keep a notebook or tape recorder by your bedside. Immediately upon waking, write down or record everything you remember from your dreams. Try this exercise for at least 3 weeks and record summaries of your findings below.
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12. Win explains that now that you have mastered the lucid dreaming technique, you can control the action in your dreams. He gives examples of soaring through clouds, exploring underwater realms, changing into animals, performing amazing feats at will, conversing with interesting dream characters, and confronting fears. List below 3 themes that you have chosen to dream about and describe the dreams in detail.
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13. Another opportunity you have when lucid dreaming is the ability to stop a nightmare in its tracks and steer it toward a more pleasant conclusion. Is there a nightmare you have had, perhaps a recurring one, that you would like to change? In the space provided below describe the nightmare and create a strong intention to change it. Write about your experience in the redirected nightmare below.
14. Win states that you can dream when you are awake; in fact, you are dreaming now. He describes his Image-Streaming Technique as being a way to gain access to your remarkable flow of inner perceptions. He suggests that 10 minutes of Image Streaming each day will induce profound positive change in your life. The steps to Image-Streaming are as follows:
Sit back in a comfortable chair, close your eyes, and describe aloud the flow of mental images through your mind. Three factors are crucial in doing this exercise successfully:
a) You must describe the images aloud, either to another person or to a tape recorder.
b) You must use all five senses in your descriptions. For example, if you see a snow covered mountain, describe how it looks, how it tastes, its texture, its smell, the feel of the air, and the sound of the wind howling across the peaks.
c) Phrase all of your descriptions in the present tense, as if you are experiencing it right now.
Try this exercise each day for the next 3 weeks. After each exercise, record your experience in the spaces provided below:
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15. The beneficial effects of the Image-Streaming Technique are many:
a) Originally the technique was developed in order to receive answers from the subconscious mind through imagery, an oracle on demand.
b) Image-Streaming raises one’s IQ; people routinely gain 20 IQ points with just 25 hours of practicing this technique.
c) Anyone who has practiced more than an hour of Image-Streaming need never again suffer writer’s block, artist’s block, or any other kind of creativity block.
d) When writing an essay or report, this technique also responds to more comprehensively addressing issues (such as asking your Image-Streaming faculties, “What have I left out?”)
e) It positively affects your self-esteem as you discover creative and intellectual achievements from practicing the process.
f) As a learning tool, it is your built-in Socratic tutor. It builds your understanding every time you use it. It enriches everything you look at, hear, and experience.
g) It reduces the overwhelming condition of feeling over informed (information overload).
How has this technique positively affected your life? Have you received any benefits from practicing this exercise that you would like to add to the list above?
Session 3: Ways to Open and Improve Your Image Stream with Velvety Smooth Breathing
Through experiential exercises Win takes you on a journey to discover how powerful multi-sensory expression can be. He gives you the example of Walt Disney’s brilliant movie, Fantasia. Walt commingled the senses in this movie, creating a phantasmagoria of shapes, sights, and colors. This commingling of the senses was a wonderful example of synesthetics, a phenomenon in which people might hear the color red, or smell a work of art, or feel the texture of a piece of music. You are also introduced to Description Exercises, the Velvety Smooth Breathing Exercise, and more ImageStreaming. It is important when doing these exercises that you be sure to incorporate all of your senses in the experience. This stimulates certain parts of the brain, and in turn enhances the power of the experiences.
16. Win suggests that you do the following exercise. Get a piece of paper and a pen, or a tape recorder. Pick two corners or sections of the room that you are in. On one side of the paper (or tape), describe the first corner that you choose. On the other side of the paper (or tape), describe the second corner, but with a difference. When you describe the first corner, confine your description to terms involving color, texture, form, feel, and your sense of position in space. When you describe the second corner, use only abstract terms that have nothing to do with sensory impressions. For example, you might write that there’s a picture hanging on the wall, an upholstered chair wedged in the corner, but nothing about how those objects look or feel.
Take about 5 minutes to write out your description, or about 3 minutes to record it if you are using a tape recorder.
17. Now look over your results. Which description is more interesting? Which conveys more experience? Which puts the reader of that description more intimately in touch with the corner that’s being described? Note your findings below.
18. Based on the findings on synesthetics, choosing to play the right kind of background music while eating will affect the taste of the food. Try an experiment. While eating a particular meal, play background music that you find tranquil, beautiful, and enjoyable. Conversely, while eating a similar meal, play background music that is intrusive, harsh, and unappealing to you. How did your food taste in each situation? Describe your findings below with each meal.
19. Like any muscle that must be exercised to become toned, your power of description must also be developed. Take a moment and describe the room you are in. Describe it to a friend or into a tape recorder as if it were a telephone and your friend were on the other end of the line. When in doubt, be sure to keep talking. There is no right or wrong way to do this, except if you hesitate in order to edit or if you stop yourself. Do a descriptive exercise like this one, spending at least 5 minutes, 3 times a day for the next 5 days. Committed practice of this technique will enhance your descriptive power and richness of observation. Make a note of your experiences below.
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20. Now do the above exercise again at least 3 times a day for the next 5 days, but in this case describe scenes and pictures that are not physically in your midst. For example, your favourite place in the world or a wonderful memory. Describe it, again being sure to use all of your senses in the description.
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21. The next exercise, which is central to Win’s tools, is an exercise called Velvety Smooth Breathing. This exercise supplements Image-Streaming and other like exercises by putting you in a relaxed but alert state of mind. To do this exercise:
a) Focus on your breathing.
b) Breath in and out so smoothly that there is no pause between the in breath and the out breath; it is all part of one long, continuous flowing breath, like a slow, sensuous sigh that goes on and on.
c) Let each phase of that breath, each breath-stroke you as you may stroke a smooth piece of velvet. Smooth and continuous.
d) Breathe with your entire body, as if you are breathing not only with your chest and stomach, but also with your legs, arms, hands, and feet.
e) Continue doing this exercise, making each new breath more pleasurable than the last.
f) With each breath, see how much you can let go of.
g) Add flavor to the next breath, something you enjoy, perhaps vanilla or peppermint.
h) Continue breathing deeper and deeper, letting go of more and more.
i) Now let your breath stroke your whole body as you yourself would stroke a strip of smooth velvet, or silk. Really smooth. Really sleek.
j) Now mentally take a photograph of the feeling you have, as you experience this long, Velvety Smooth Breathing.
k) Each time you go back to this breathing technique, remind yourself of that mental photograph that you took, and this will deepen your state of relaxation.
In this state, describe aloud to someone or into a tape recorder a familiar person or object in richly textured detail. Describe it in such richly textured detail that the listener would be forced to see, hear, smell, taste, and feel what you are describing. If you are doing this with your eyes closed, you may notice that you actually see the subject in your mind’s eye. Practice this exercise on 3 separate occasions. Describe below the sensations you experienced as a result of practicing this breathing exercise. What are you feeling after doing this exercise that you weren’t feeling before you did it? What else did you notice?
i)
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22. You can actually change your emotional state by simply changing your breathing pattern. For example, to experience relief from a situation, feeling, or condition, breathe repeatedly and slowly great sighs of relief (exhale). Within 2 or 3 minutes of doing this, you will find yourself experiencing profound relief. Try this exercise and describe below how you felt prior to doing this exercise and then how you felt afterwards.
Session 4: Image Streaming
Image-Streaming is the focus of this session. Win takes you on a step-by-step ImageStreaming exercise. Remain alert and nonjudgmental, and have fun exploring the workings of your subconscious inner genius.
23. Now you are ready for spontaneous Image-Streaming. To make the Image-Stream more vivid and useful, note the following suggestions:
a) Use the present tense. Even when the image is already vanished, you should never say, “I saw....” Always phrase it as “I see...” or “I am looking at...”
b) The Image-Stream is reinforcing. It is developed by a feedback loop. Almost any stimulus will serve to trigger the stream of images, but from that point on, your own flow of verbal description is what keeps the Image-Stream going, what keeps your images developing. In general, the more you describe, the more of it you see.
c) Do not use any props to aid you in Image-Streaming. Ultimately, you do not want to use the accompanying tape when you are doing this exercise.
i) Start by doing a deep stretch.
ii) In the afterglow of that stretch, settle back into a deeply relaxed, comfortable position.
iii) Using your Velvety Smooth Breathing exercise, put yourself in a state of being deeply relaxed and very alert.
iv) Once you have reached this state, allow your mind to go into Image-Streaming. As any image comes up, whether a taste, smell, feeling, or something you hear or see, describe the image in detail, using all your senses, into a tape recorder or to someone listening. Do this for 5 to 10 minutes. Do not judge yourself and give yourself permission to fudge some of the sense experiences. Give yourself permission to freely describe whatever may arise, suppressing nothing.
v) Debrief by writing down in the spaces provided below everything that you can recall of what you experienced in the Image-Stream. Do this before you play back the tape. You can then re-play the tape to enrich these notes.
Do this at least once a day for the next 3 weeks and describe your experiences in the space below.
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24. There is a three-part principle of description in this exercise. Take note of the effects that doing these descriptions more effectively has on the exercise:
Principle 1: When you describe any object, real or imaginary, at the same time you are observing it, the very act of description focuses your attention in such a way that you perceive more and more detail about the object being described.
Principle 2: Describing an object aloud to an external focus, such as a live listener or to a blank tape and a cassette recorder, is the strongest way we know of so far to build this additional discovery effect. You discover more and more about what you’re observing while describing it.
Principle 3: The more sensory your description is (the less abstract and explanatory), then the more powerful the effects are, especially when you are describing abstract or complex situations, as distinct from concrete ones. If you stay sensory in your description, and stay with the sensory details, explaining little or no part of it, just going with the sensory describing, it is much more effective.
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