We set out to explore the depths of our psyches
and the reaches of our spirits.
—Ray Manzarek
I am going to speak of five forms of experiential focusing. But the foundation is experiential search – the natural process of a person’s self-exploration.
Here a listener can never lead, only follow – this scrupulous habit of following the person’s inner process informs all other forms of focusing, saving us from degeneracy, emptiness and technique.
1 Experiential search
Dwelling in and with your feelings, thoughts, images and intentions – being sensitively aware of the movements of your inner life – all this is like browsing.
Goats browse. They move about in an area, feeding on the leaves and shoots of trees and bushes. In the same way, a person can move around inside their problems, nibbling a little here and there, getting essential nourishment.
When you browse amongst your feelings, a succession of little steps comes, through which a situation may gradually be transformed, by small incremental stages.
Of all the processes and practices outlined on this site, experiential search is the most natural. It is how we spontaneously explore (or talk through) whatever is going on for us – our problems and projects, fears and nightmares, dreams and intentions.
Because browsing is so natural and so very variable, I will say little about it, except that it is by far the most complex and elusive human process known to me.
For this reason, when a person begins to explore their world with a companion, it is vital for that companion to be a listener, a following presence. A companion who tries to guide or direct may well disrupt the fragile intricacies of the natural process.
So the listener is with the person in one sense – as an empathic and human companion; but in another sense, allows the person to be utterly alone, picking a unique and idiosyncratic path through the landscape.
Browsing, you may need to be alone or to have a companion, to write or walk, talk or fall into silence, dance or sit, daydream or shout.
You may be calm and self-possessed, quietly and sensitively reflective. Or you may be over-wrought, possessed by waves of uncontrollable feeling, so that there is a natural transition from experiential search to fully feeling.
Again – there will be times when the forward movement is blocked, and you find yourself making a natural transition to situational focusing. I know four main forms of this transition:
- You are stuck for words – and pause at that point, waiting for words to come.
- Your listener does not follow – and you search for another way to make your point.
- You find you are stuck (there is no forward movement) – so that all you can do is dwell on the overall sense of your perplexity.
- You come across a complex feeling – it presents itself before you, for the next phase of your search.
Through all of this, there is a thread, which the listener (if there is one) must faithfully follow.
It would be contradictory for me to offer guidelines for experiential search. It is your search. You must find your own way – and you will. In the course of finding your way, you also find yourself.
As for the listener, everything I know about keeping company with the rich, subtle process of experiential search has been hinted at somewhere on this site – in particular in the sections on the way of the listener, close listening, and listening sensitivities; and in the two sets of so-called “laws”: the laws of encounter and the laws of integrity.
For much I cannot say, which is intangible and subtle, unique to the human moment.
2 Situational focusing
When you face any difficulty, it is good to know how to dwell in a place of feeling, paying attention to your sense of being puzzled, blocked, thwarted or perplexed. For this is the true secret of human creativity.
Many writers have drawn attention to the role of a feeling of perplexity in the process of thinking, amongst them philosophers – Plato, Frege, Dewey, and my great teacher, Gene Gendlin.
Gene has devoted his life to the study of these feelings of perplexity, which he calls “felt senses”, and to delineating the process of situational focusing.
Everybody knows what it is like to be without words, feeling for a way forward. You may say, “I don’t quite have it yet. It’s on the tip of my tongue…” or “No, that’s not right. Let me see. It’s more like _____”.
When you stay with that sense of perplexity, you will find that it guides you. As various ideas come to mind, this sense or feel of the situation adjudicates (as it were) between them.
To one idea, there is no felt response. To the next, a cautious wavering, as if something in you is saying, “Well, maybe”. Finally, there is a marked shift of feeling, a kind of “Eureka! I got it!” You get to know what comes next, or what to do next.
A life-step has come. Life-steps are often unexpected. When they come, you may have a marked feeling of relief or surprise.
This sequence is situational focusing. It is the direct path. It is both feeling and thinking. It frees you to make your life your own.
We have all heard of “emotional intelligence”. Situational focusing is your emotional intelligence.
We need to go beyond the formed ideas which we already have. To an extent, the formed ideas are stale – they are like so much machinery, or like a computer: they work out implications, but can never generate a truly creative next step.
But when you are touching and tapping the felt sense of the words you say, the images you see, the music you hear, the gestures you make, the problem you are working on; touching and tapping – then you are waiting for something fresh to break through: for a life-step to come, for an unmistakable moment of real change.
You find the next idea, the next piece of the puzzle, the solution, the life-forward direction. It is like getting a breath of fresh air.
Situational focusing is a way of working with the wisdom of your felt or inarticulate knowing.
But in many people, this natural process has become blocked or obstructed. This essential process is lost to them.
Gene Gendlin and other teachers have devised many different versions of a set of teaching-steps, which enable anybody to re-learn this form of creative thinking.
Rob’s teaching steps for situational focusing
1 The situation
You have a problem in your life. The forward movement is stopped.
A “problem” is simply “something which is calling for attention”. It need not be difficult or negative. It might be delightful, fresh or inspiring. But it is in some sense caught in an eddy – needing to find a way back into the running stream.
You are feeling some sort of blockage in your soul.
2 Saying “Hello”
In villages in many countries, it is important to say “Good morning!” and “Good afternoon!” to everyone you pass on the street and even when you climb into the back of a transport truck.
And in Focusing too – sometimes you might feel too ashamed, or too something, to get at all close to something that happened to you, or something you did, or something you witnessed. But you can at least say “Buenos dias”.
“Uh-oh! – here’s a blockage. Hullo, blockage!” You notice a loss of way, and you just say, “Oh, that’s there.” You say hello to all-of-that.
Whoever passes you in the street, you can always say “Hello!”
3 The space
You stop what you are doing. You are probably still caught in the thoughts and feelings which come inside the situation.
You let these thoughts and feelings settle down. You need to be calm enough to feel very low-level emotional states.
Soon you are aware of a clear space within you, some (perhaps small, but sufficient) degree of stillness or openness.
You have come into a little pool of silence.
4 The whole thing
the invitation
You sense for a feeling of the whole problem, inviting a “felt sense” of the whole situation to form, noticing what it feels like as a whole, noticing the quality of the whole thing.
the fuzz
Rarely or never is this felt sense simply there waiting for you. What generally comes first is “the fuzz” – a murky, unclear sense of diffuse dissatisfaction.
the felt sense
But after a few moments, the felt sense falls out, comes into focus, gells or crystallizes – a feeling of the whole thing. This feeling may well be extremely subtle, even elusive. Even so, it is clear and stable, compared to the fuzz.
The felt sense may have a precise bodily location, but need not. It may seem to form in, around or outside the body, or have no clear location at all. It may not seem to be “bodily” in any way.
In one sense, nothing has yet changed. And yet, it is a very different thing to have a sense of any situation as a whole, and no longer be trapped inside it.
the junction
Either when the felt sense gells, or later on, you may find yourself unexpectedly at a junction. What was one mass now has several parts. At this moment, you may feel a marked easing.
Now you must choose: should I follow one path at a time? or will I wait here at the junction, holding the whole pattern in awareness.
There may be many strands. Each has a story to tell, and will tell that story, once it is ready to – through words or images which come, accompanied by movements of feeling, changes in the overall quality of the felt sense.
Each feeling is like a guest, whom you make welcome.
5 The likeness
You set out to look for a word, phrase, image, sound or gesture, which will capture the quality of the felt sense or perplexity. You refine that saying, until the feeling noticeably eases a little.
You begin to be able to say what the feeling is like – and something in you goes “Aaahhh Yes That’s how it is.”
You begin to have a sense of who the guest is, of what she is like.
6 Sensing towards an opening
You are inviting the stuck pattern to loosen, to free up in some way as yet unknown.
You are sensing for some carrying forward, waiting for a creative step to bubble up, accompanied by some kind of felt movement. Since what you are sensing is the whole thing, it will be the whole thing which now changes, mutates or moves forward – as a whole.
You are dowsing – waiting for an opening – and will know it when it comes: for with it comes surprise, release or relief – a sigh or laughter, heart-easing or tears.
Your guest tells her story, and offers you some gift which she has brought you.
6.1 The intrusion of threat
Typically, before the opening comes, you may experience “threat”. It is hard to speak about threat, because it takes so many forms. In essence, threat is the fear of change.
There are complex forces in a person, whose job is to hold existing patterns in place. They are valuable, even essential, for without them our lives would be all over the place. But since these forces defend the status quo, they cherish the old ways, and are unfriendly to change.
As any pattern loosens, these forces wake up. They try to distract you. They are hostile, fearful, clever, ruthless and inventive. If you fight them, they win.
You must delicately feel your way forward, when threat intrudes upon the process, protecting that space in which the felt sense may open.
Your guest may be frightened by a hostile intruder.
7 Giving thanks
You receive any opening or life-step, when it comes.
You are taking time to allow the new to be integrated, so that the system does not fall back into the old stuckness, when you say “Goodbye” to the loosened, open space. For even after an opening has come, threat may creep up stealthily, to rob you of the gift which you were given.
You are thanking each guest for the gift which she has brought.
Sensitive attention to feelings of perplexity pervades the process of creative thinking. Situational focusing is the wind which fills the sails of your engagement with life.
2 Inner worlds focusing
Inner worlds focusing is both like and unlike situational focusing. In a way, it is just a matter of the starting point – but then again, the different starting point tends to lead to a process with an entirely different flavour.
1 Going inside
You find a time and place to be quiet. You bring your attention into your body, into the inner world of sensations and feelings. After a little while, you feel you are there.
2 Something
You notice “something”. The something may be anything, so long as it is felt. It may be vague and fuzzy, but it is unquestionably physical.
You may or may not know whether this feeling has anything to do with your life.
3 Words or images
You begin to find words or images, which describe what the something is like perhaps in oddly poetic or metaphorical ways.
It is very much as if the “something” is showing how the world looks from its point of view. You may be taken by surprise.
4 The inner relationship
Sometimes something has feelings about you. These may include gentle irony or sarcasm, as if it is saying, “Well, hello. How unusual, that you would be listening to me.”
Or as the goddess Aphrodite said to the poet Sappho: “What is it this time?”
There is typically a developing inner relationship, as you and your feelings slowly come to trust one another.
5 Felt movement
Whenever the words or images truly capture what the feeling is like, it changes – perhaps in a subtle way. When you feel the coming of one of these little steps, you take time to welcome and absorb it.
Once in a while, there may be a big shift. You feel wonder and surprise. There is a striking sense that you are being carried forward in your life.
6 The trail
Steps of felt movement form a chain, just as if you were following a trail in the hills or woods, as it turns and winds, or being carried by an ocean current.
When you feel you have gone far enough (or you run out of time), you find a place to close or cadence – and you make a gentle retransition to the world of ordinary life.
Note: In describing inner worlds focusing, I have drawn largely upon the work of Ann Weiser Cornell and Barbara McGavin.)
4 Fully feeling
Instead of the little piecemeal steps of experiential search, some people, who have “the gift of tears”, are overtaken from time to time by grand cathartic releases – huge waves of anger, fear or grief, which break dramatically over the rocks of old rigidities, and may shatter them – freeing up bound energy, dissolving chronic tightness which has been locked into the muscles of the body.
For some people – for example, my friend Kathy McGuire – fully feeling is a central practice, guided by a subtle sensing towards the approach of tears or deep emotion.
There are a thousand kinds of tears.
There is no need to be afraid of fully feeling. It has its own cycle. You only have to wait peacefully for the cycle to complete itself, for the flood to subside, leaving a changed and fertile landscape.
5 Clearing a space
Most people go through life constantly bearing all their worries and concerns, like so many heavy parcels.
You don’t have to do that. You don’t have to feel weighed down all the time. It’s not necessary. You can put your problems down, and have no fear of losing them. Don’t worry. They will be back to trouble you further.
Clearing a space is a way to have a clear mind, freeing up life-energy for living.
There’s nothing insincere or inauthentic about having a little happiness, energy and clarity of mind.
Almost anything you might want to do is likely to go better, when the inner space is clear; when present experiencing is not veiled behind a gauze of habitual global (bad) feeling.
Patient work with the clear space and the background feeling tends to bring profound changes in a person’s whole attitude to life.
(Gene Gendlin, Marine de Freminville, Mary McGuire and other colleagues have come up with many ways of clearing a space. Here I have woven several together to make an independent practice, hoping you will find it both spacious and poignant.)
1 Evoking the clear space
First of all, picture a time and a place, real or imaginary, where you were truly happy. Evoke it vividly. Be there. See it and hear it and touch it and taste it and smell it.
Don’t let anything contaminate this imagined space.
You can do this really elaborately – especially if you are in deep trouble, or feeling very distressed.
Use all your senses, your memories and associations. You might even want to draw or paint the place.
You are taking a little holiday from your life.
2 Distant echoes
The middle part of clearing a space is a cycle, with five little steps:
1 Listening for an echo
Allow your attention to turn to whatever might disturb that clear space, noticing the feel of one issue at a time – very faintly and remotely – as if you were remembering your life from a great distance.
You are letting just one thing draw your attention, which could come between you and feeling “all fine”.
Or one good thing, which is pulling on your attention. We don’t want to be biased towards the negative.
You are evoking images of various life-situations; letting each image generate just a hint of its associated global feeling-state.
But you yourself – stay always in the clear space. Make sure that nothing clouds its feeling or its images.
You might feel yourself moving back and forth between just barely sensing the issue, and backing away into uncontaminated space.
Once you find your balance with one issue, so that you are able to be aware of it, without either losing touch or drowning in it, then you can go on.
2 The felt sense
Stay for a moment with the feel of this whole issue – the way in which it colours or slightly overshadows your sense of being all fine and at peace.
How does that whole thing feel to you? Please be careful to distinguish between the feelings you would have in the situation, and the feel of the thing as a whole.
Don’t go into anything.
Just now, you are going to stay with your mild sense of the whole thing.
3 The handle
Invite a handle to come – a symbol which comes up out of that felt sense, and will evoke the feeling again, if you should need it to.
What word or phrase or image (or sound or gesture) would catch the quality or flavour of that whole thing?
You know that a handle has come, when the feel of the issue responds in some way. Something in you says, “Yes, that’s it. That’s how it is”.
In other words, it’s a handle for just so long as, when you pick it up, the suitcase comes too.
4 Friendly curiosity
Now spend a few moments here. Perhaps this felt sense is ready to open. You are just briefly touching and tapping the feeling, with a sense of friendly curiosity.
Perhaps some little forward step is ready to come here, so that the issue will feel a little different, and you will know that you are one step further on with it.
If a life-step comes, make it welcome. And if not, that’s fine too.
5 Refreshing your sense of the clear space
All the time, whilst you are listening to an echo of your distant life, in your imagination you are still at peace, in this (perhaps remote and beautiful) place, where you can be happy.
Before you go on, let the images of being in that place come back; let the feeling of happiness and peace be fully there again.
Now let’s see what else you are carrying today.
The background feeling
Once all the specific issues have let go of you, at least to some extent, you feel easier. Now, if you are attentive, you may become aware of a background feeling.
What is a mood or attitude which pervades your life, is always with you: your sense of “that’s just how life is”?
How would it be, if you could also put down that mood, attitude or pervasive colouring?
Go through the same five little steps with the background feeling, which you just went through with each life-issue.
There is not one single background feeling. There are many layers. This is a profound and subtle territory. Don’t worry if it proves to be elusive at first. Once you become able to let go of the background feeling, you may find that other issues vanish, or carry forward far more easily.
When you are being deeply real with yourself, whatever needs to happen, does happen.
It’s so tempting to retreat into theory.
There’s a longing for something simple,
which can only be had by denying pain and contradiction.
—Ray Carrick
Life moves forward, once we stop hiding away from ourselves, and stay with whatever is real for us.
By clearing a space, we are able to be with whatever is really there, without drowning in it or living under grey clouds.