2 New Techniques for Physical Effects (My Work July 26 – August 1)

by Mike Sententia on August 1, 2014

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Every Friday, I discuss what I learned that week. Lost? Read the archives.

I’m still working on influencing emotions and creating sensations. One step of that technique is to shift the signature of the person’s aura. This week, I learned two techniques to do that shift better.

Previously, to shift the signature of an aura or other structure, I would make a network of connections throughout the structure. Then I’d create a second signature in my network, activate that second signature, and that would shift the structure’s signature to match the now-active second signature. It’s a technique I learned from spirits, and while it makes sense, I can’t step through exactly how or why it works.

The first improvement this week was to make two networks of connections throughout the structure I’m shifting. See, you can use a network to shift a structure, or you can use it to watch the structure, but you can’t do both. By making two networks, one can shift while the other watches.

The veins of a leaf.

I watched as I shifted structures, and I noticed how incomplete the shift is. Much of the structure stays in the old signature. Think of the network of connections like the veins in a leaf. It seems that only the bits of structure immediately touching one of the veins would shift, with the rest lagging 5-10 seconds behind.

I’ve always had to hold the new signature steady for 10 seconds, and now I know why. Also, this suggests that making a more thorough network of connections could give smoother, faster signature shifts.

And, in general, being able to watch your work is useful for making sure you wind up in the intended signature. I like the control it gives me.

Dog made of smaller pictures.

Second, I learned to align both of those networks more precisely. See, you want to match the signature of the structure you’re shifting, and matching it at a smaller scale is better. The best visual is those pictures made of smaller pictures, like the dog to the right. If you were sketching that picture, you could just sketch the dog. Or you could sketch each individual picture that makes up that dog. The second option would be a better reproduction, or in our case, a better alignment to the signature.

I’ve learned to do that better alignment already. I just hadn’t been applying it. I think that will be a recurring theme.

(Incidentally, when I speak of learning new fundamental skills, this is the sort of thing I’m talking about.)

In all, this was an easy week. Each new technique took one training session, then one day of practice. There are two more techniques like this that my spirits say will be useful, then I’ll do more training on the sensation technique as a whole.

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