Carleton Skills Training Program

[[Transcriber's note: Any text within these double-brackets has been added by me, and was not present in the original. This document is best viewed in a text editor that indents an entire paragraph, not just the first line. Such an editor will put entire chapters or sections on the same indention, and the header for those chapters or sections will have one intent fewer. Also, optical character recognition left a lot of errors in this text, which I corrected by running it through spellcheck. As a side effect of this, all Canadian spelling was corrected to American spelling. Apologies to non-American readers.]]

APPENDIX A [[Overview & instructions]]
	Modification Instructions
		You have been chosen for this study because you have shown low susceptibility in a previous hypnosis session. We believe that people show low responsiveness to suggestions because they are not quite sure how they should be thinking or acting in response to suggestions. Research has shown that instruction and practice can significantly increase an individual's responsiveness. So today's session is a practice/training session.

		The procedure is this: First you will hear a lengthy introduction to hypnosis. It will outline some of the myths and misconceptions of hypnosis. For example, hypnosis is not a trance state, there is no loss of control, no loss of consciousness. The person responding to suggestions is in complete control, very aware of his/her mind and body. In fact, the person who is responding hypnotically is probably more aware and more in control of directing his or her mind than at any other time during the day. The sleep suggestion in the "induction" is there to help people become calm and relaxed in order that they may concentrate, (May be some discussion on any of these myths, according to the subject).

		Following the taped introduction to hypnosis, you will hear an introduction to the first suggestion. There will be four suggestions presented in all. After each one is introduced, you will vew a videotape of a subject responding to the suggestion. She has practiced the skill which you are going to learn today. You will notice that this tape is not of a spontaneous session such as this one. Rather, it is a condensed presentation of many points which we wanted to communicate to you.

		The subject on the videotape will be verbalizing her responses throughout the session so that you will know what kinds of things she is thinking about. You will not be expected to do this. Following this, you will see a short interview during which the major points will be clarified. Pay close attention to these points.

		Then you will have an opportunity to practice responding to the suggestion yourself. In this way, we will work with four suggestions together, using the videotape as a model. At the very end of the session, after you have practiced the four suggestions, you will be given four different suggestions which will be presented one after the other. You will respond to this series without any instructions or coaching. This is your opportunity to demonstrate whatever skills you have acquired during the session in a spontaneous manner. Do you have any questions about the procedure?
	Arm Rising suggestion
		EXPERIMENTER ROLLS THE AUDIOTAPE UNTIL THE LAST LINE OF THE ARM RISING SUGGESTION: "Here is the subject responding to the arm rising suggestion." THEN STOP THE AUDIOTAPE AND TURN ON THE VIDEO TO PLAY THE RESPONSE AND THE INTERVIEW FOR THIS SUGGESTION.
	Discussion with Subject
		You will notice that there are two parts involved in responding to any suggestion: the physical and the mental. For example, for the arm rising suggestion, the subject must physically raise her arm. Some "thing" does not cone along and raise it for her. However, it feels like it's going up by itself because of the mental imaginings.

		You must concentrate on a mental image which is consistent with the suggestion, such as imagining that your arm is being pumped up with helium or whatever. Some people find that imagining balloons attached to their arm is a good image to work with. Others find that they can involve themselves in the suggestion with an image of a pulley slowly pulling their arm up. Others relate to that sensation you get when you are in the water and your arm floats upwards. Pick a mental image that you can relate to. One that you can work with. If you start with one type of mental imagining and find you cannot focus on it for the full length of the suggestion, feel free to incorporate another imagining.

		The subject, you will notice, did not limit herself to details provided by the suggestion. She elaborated upon suggestion by thinking about the hose leading to the pump and the details of the pump itself. She mentions that she did not let criticisms or comments about what she was doing, arise. The mind can only attend to one thing at a time, and she kept it concentrated on the experience of the suggestion. Any inner verbalization must be in keeping with the suggestion. "It's light", etc., not "this is dumb" or "it's heavy".

		Feedback between these mental and physical aspects reinforce each other. The physical movement of the arm rising reinforces the mental image which, in turn, reinforces the physical movement. The result is that there is a feeling of lightness and the feeling that it is going up by itself. You must make it feel as it it is going up by itself.
	HELPFUL HINTS IF THE SUBJECT HAS TROUBLE
		You will notice that as you take a deep inhalation your upper body moves. Try, if you are having trouble with beginning the physical movement, raising your arm with each breath, letting it rest on the exhalation and raising it more on the next inhalation. Deep breathing and relaxation are appropriate to a suggestion which lightness. Use a mental image that is familiar to you. Keep the arm loose, not tight or clenched. Otherwise, the feedback is of heaviness, etc. So pick an image to work with. I'll play the suggestion and you try it, using the things you just seen and we have talked about. Sit back and close your eyes.
	[[Scoring]]
		THE EXPERIMENTER PLAYS THE TAPE OF THE ARM RISING SUGGESTION. UNOBTRUSIVELY, THE EXPERIMENTER SCORES THE SUBJECT ON THE OBJECTIVE MEASURE. IF THE SUBJECT RAISES HIS/HER ARM MORE THAN SIX INCHES, THE SUBJECT PASSES THE OBJECTIVE ASPECT OF THE AND RECEIVES A "1". IF THE SUBJECT DOES NOT RAISE HIS/HER ARM MORE THAN SIX INCHES, THE SUBJECT FAILS THE OBJECTIVE ASPECT OF THE SUGGESTION, WILL GET A "0" AND WILL HAVE TO TRY IT AGAIN. AS SOON AS THE SUGGESTION IS OVER, THE EXPERIMENTER GIVES THE SUBJECT THE TWO-PAGE, TWO-QUESTION SUBJECTIVE EXPERIENCE ITEMS. NO TALKING WITH THE SUBJECT UNTIL THESE QUESTION HAVE BEEN ANSWERED, SCORING ON THE SUBJECTIVE QUESTIONS IS AS FOLLOWS:

		THE SUBJECT MUST RESPOND TO BOTH QUESTIONS WITH A (c) OR (d) IN ORDER TO PASS THE SUBJECTIVE ITEMS. IN ORDER FOR THE SUBJECT TO MOVE ON TO THE NEXT SUGGESTION, HE/SHE MUST HAVE PASSED THE OBJECTIVE ITEM AS WELL AS BOTH SUBJECTIVE QUESTIONS. A "0" ON THE OBJECTIVE WITH PASSES ON THE SUBJECTIVE DOES NOT ALLOW THE SUBJECT TO HOVE ON. CONVERSELY, A PASS ON EITHER OR BOTH SUBJECTIVE QUESTIONS DOES NOT CONSTITUTE AN OVERALL PASS ON THE SUGGESTION UNLESS THE OBJECTIVE SCORES IS A "1". THIS SCORING PROCEDURE IS USED FOR EACH SUGGESTION DURING THE SESSION. THE SUBJECT MAY REPEAT EACH SUGGESTION ONLY ONCE.

		IF THE SUBJECT MUST REPEAT THE SUGGESTION, THE EXPERIMENTER REINFORCES ANYTHING POSITIVE ABOUT THE SUBJECT'S RESPONSE. ASK WHAT MENTAL IMAGE THE SUBJECT USED AND PERHAPS SUGGEST AN ELABORATION OR A DIFFERENT ONE. REITERATE THE MAJOR POINTS OF THE RESPONSE AND MAKE SURE THEY ARE CLEAR TO THE SUBJECT. EMPHASIZE STRONG CONCENTRATION AND INVOLVEMENT. CHECK VERBALIZATION FOR OR CRITICISMS DURING THE RESPONSE. PERHAPS THE SUBJECT IS TRYING TOO HARD OR IS TOO RIGID. SOMETIMES, TOO MUCH EFFORT SERVES ONLY TO REMIND THE SUBJECT THAT THEY ARE UTILIZING SOME STRATEGIES AND THEREFORE DOES NOT ALLOW THAT SENSE OF "INVOLUNTARINESS" TO DEVELOP.

		IF THE SUBJECT MUST REPEAT THE SUGGESTION, ROLL THE SECOND TAPE (WHICH ONLY HAS THE PRACTICE SUGGESTION ON IT). SCORING PROCEDURE IS THE SAME AS ABOVE. THE SUBJECT GOES ON TO THE SECOND SUGGESTION REGARDLESS OF THE SCORE. IF THE SUBJECT DID NOT IMPROVE, TELL THEM IT IS A DIFFICULT ONE AS IT GOES AGAINST GRAVITY, AND THAT MOST PEOPLE FIND THE NEXT SUGGESTION MUCH EASIER.
	Hand lock Suggestion
		ROLL THE AUDIOTAPE UNTIL THE VOICE SAYS: "She will verbalize aloud the appropriate kind of thoughts and imaginings one should have during the suggestions". THEN PLAY THE VIDEO OF THE SUBJECT RESPONDING AND THE INTERVIEW.
	Discussion with the subject
		This suggestion is easier for a lot of subjects because it is easier to enter into the physical part of the suggestion. As you were told on the tape, the challenge to try to pull your hands apart is part of the suggestion. By the time you are asked to try to pull your hands apart, you should be so involved in your imagining, it will feel as if you really cannot pull them apart. Also, as you were told for the first suggestion, you are not limited to using the image given in the suggestion. If you find it easy to imagine your hands welded like two cold blocks of steel, that is fine. But if you find this a difficult situation to imagine, feel free to imagine anything you like as long as it is consistent with the idea that you cannot get your hands apart. Some people have found it useful to imagine that their hands are glued together or bound together by heavy string or chains.

		When asked to try to pull your hands apart, you can reinforce your mental image by pressing down on your fingers and pushing on your palms as your hands are clasped together (demonstrate for subject). This way, you can actually make a moderate physical effort to pull your hands apart, while ensuring that they will not actually come apart. The pressure of the pulling/pushing of the fingers and palms creates a tension that easily reinforces a "can't pull apart" feeling. Do not try too hard though, because you want it to seem that this is not happening through any effort on your part. In other words, you want it to seem as if you are trying, but somehow just cannot get them apart. If you have ever tried to move something impossibly heavy or stuck, you will know the feeling of "can't do it" and be able to bring that feeling to the hand lock suggestion. The inner dialogue should be along these lines: "It's stuck", "I can't pull them apart", etc. Okay, I will play the suggestion now. By the way, you may put your hands on your lap if you want.

		THE EXPERIMENTER PLAYS THE TAPE WITH THE SUGGESTION AND SCORES ACCORDING TO OBJECTIVE "PASS" (1) (IF HANDS DID NOT COME APART) OR "FAIL" (0) (IF HANDS DID COME APART). AFTER THE SUGGESTION IS OVER, GIVE THE SUBJECT THE TWO QUESTIONS PERTAINING TO THE SUBJECTIVE EXPERIENCE DURING THIS SUGGESTION; SCORE THESE AS IN THE ARM RISING SUGGESTION.
	Book Suggestion
		PLAY THE INTRODUCTION ON THE AUDIOTAPE AND THEN AT "pay careful attention" STOP IT AND TURN ON THE VIDEOTAPE FOR THE RESPONSE AND THE INTERVIEW. STOP VIDEO.
	Discussion with the Subject
		For this suggestion, it is important to embellish the imagining with as many details as you can. First, pick a place on the table where you are going to imagine the book to be. Once your eyes are open, just keep looking at that place on the table. Of course, you will not see a real, concrete book, but in your mind's eye you can trace the outline of where the book would be if it was really there. Imagine what angle it's on. Is it even with the edge of the table? Off to the side? And so forth. Imagine where you will be moving it with your hand. Think about the size of the book, how much space it would take up on the table, what color it is, what the title looks like and where it is on the book, is the book paperback or hardcover? etc.

		Have you got a desk at home or in the library where you habitually study? If so maybe you would like to imagine that you are sitting there studying and that you are going to change to another topic, so you want to move this book to the side.

		Pick a book you know, something you are familiar with. If you want, you can imagine that you brought it with you and you have just placed it on the table, You may use a magazine, if you wish. Also, some subjects have said that a simple cover is best and they can "see" it more clearly than one with a complex design or color scheme.

		Make sure that you have the image firmly in your mind's eye before you open your eyes. You may experience a slight "jolt" or disconcerted feeling when you first open your eyes, but just calmly continue to hold the image and "build" it on the table in front of you. It is important that you involve yourself with the suggestion, without distraction, for the whole time. If the image fades or the concentration wanes, just bring it back by working with one of the details of the book. Like the other suggestions, this one involves a physical movement, that of pushing the book aside. Even if you are having difficulty imagining the book there, follow through on the physical motion of pushing the book aside. While you are doing this, imagine what the book would feel like against your hand and how much pressure it would take to push it aside.

		HELPFUL HINTS: IF THE SUBJECT HAS TROUBLE WITH THIS SUGGESTION, FOR EXAMPLE, THEY SAY THEY CANNOT SEE THE BOOK, TELL THEM THAT THIS SITUATION IS SOMEWHAT LIKE THAT OF CHILDREN PLAYING HOUSE IN THE BACKYARD. THEY IMAGINE THAT THE LAWN IS DIVIDED INTO DIFFERENT ROOMS OF THE HOUSE AND THEY ALL TAKE CARE TO WALK THROUGH THE "DOORWAYS" INSTEAD OF THE "WALLS", EVEN THOUGH EVERYONE WOULD READILY ADMIT THAT THEY DON'T SEE WALLS OR DOORWAYS OR ROOMS. SIMILARLY, HERE YOU WANT TO BEHAVE AS IF THE BOOK YOU HAVE IN MIND IS REALLY THERE.

		Now that you have a book in mind, sit back and relax. I am going to play the suggestion now.

		THE EXPERIMENTER PLAYS THE SUGGESTION. THE SUBJECT PASSES THE OBJECTIVE ITEM IF HE OR SHE PUSHES THEIR HAND ACROSS THE TABLE. WITH PASSING THE SUBJECTIVE ITEMS, THE SUBJECT IS ALLOWED TO GO ON TO THE NEXT SUGGESTION. IF THE SUBJECT NEEDS A SECOND TRIAL, ASK: What book were you using? (maybe it's too vague or complex). What difficulty did you experience? Were you commenting on what you were doing? Were you able to "see" the book first, clearly, in your mind's eye?
	Amnesia Suggestion
		THE EXPERIMENTER PLAYS THE AUDIOTAPE FOR THE INTRODUCTION TO THE SUGGESTION UNTIL IT SAYS: "Attend carefully to what she does". THEN ROLL THE VIDEOTAPE FOR THE DEMONSTRATION AND INTERVIEW WITH THE SUBJECT.
	Discussion with the subjects
		If you want, you can do what the subject on the tape did and spend the whole time thinking of other things so that the memories of the suggestions will not come to mind. If any of them do pop into your thoughts, write it or them down right away and continue to distract yourself so that the other suggestions will not come back along with it.

		If you find it difficult to distract yourself, you might want to try a different technique. You could try imagining that you are in the type of situation where you know someone's name but when it comes time to introduce that person, you simply cannot remember it. Or you might imagine what it feels like to be writing an exam and are unable to recall the answer to a question you studied the night before. A good thing to do in this case is to look at the blank piece of paper in front of you and imagine your mind to be blank too. In fact, some people only need to be confronted with a blank piece of paper to feel that certain vague and unfocused feeling. Some subjects find it useful to imagine that the suggestions are written on a blackboard. When the suggestion to forget is played, they then imagine that it is being erased. Any time they feel an urge to recall the suggestions, they just imagine that the blackboard is wiped clean and do not pursue the matter any further. When the amnesia suggestion is cancel led, they imagine the suggestions are being written on the board again. Some people find that music is a powerful distraction. Once they click into a song or a jingle, they are oblivious to any other thoughts.

		Some people are able to just let their minds wander and need make little or no effort to distract themselves from focusing on the suggestions. They have things to think about, memories to contemplate, homework questions to consider, etc. Whatever techniques you decide to use, it is important that you make believe that you are doing nothing to make the suggestion go away, that it requires little effort. You want it to feel like you are trying to remember them, but just cannot. If your attention is on other things, it will feel as if the suggestions have "gone away". Okay, I am going to play the suggestion now. Sit back and relax.

		THE EXPERIMENTER PLAYS THE SUGGESTION AND PROVIDES BLANK PAPERS TO THE SUBJECT AT THE APPROPRIATE TIMES. SCORE OBJECTIVE RESPONDING. AFTER THE SUGGESTION IS OVER, THE EXPERIMENTER GIVES THE SUBJECT THE SUBJECTIVE QUESTIONS. REINFORCE THE SUBJECT'S RESPONDING. IF THE SUBJECT FAILS THE SUGGESTION, FIND OUT WHAT THE DIFFICULTY IS AND MAKE SUGGESTIONS FOR SUCCESSFUL RESPONDING.
	The Test Suggestions
		Okay, now I'm going to play the tape with four different suggestions on it. They will be presented without any discussion or dialogue between us. This is your chance to utilize the skills you have developed today. The suggestions will be introduced and there will only be enough time for you to respond. Just follow along and attend carefully to the suggestions. Afterwards, we will talk a bit more.

		THE EXPERIMENTER PLAYS THE AUDIOTAPE. IT HAS A SHORT INTRODUCTION TO THE PROCEDURE FOR THESE NEW TEST SUGGESTIONS AND THEN GOES RIGHT INTO THE FIRST ONE. THE EXPERIMENTER PROVIDES PAPER FOR THE AMNESIA SUGGESTION. THE EXPERIMENTER SCORES EACH ON THE OBJECTIVE MEASURE, AS IT IS HAPPENING. AT THE END OF THE FOUR ITEM-TEST, THE EXPERIMENTER HANDS THE SUBJECT THE SUBJECTIVE QUESTIONS. ONCE AGAIN, NO TALKING WITH THE SUBJECT UNTIL HE OR SHE HAS COMPLETED ALL THE QUESTIONS. WHEN THE SUBJECT HAS ANSWERED ALL THE QUESTIONS, REINFORCE HIS OR HER PARTICIPATION, IMPROVEMENT, ETC., THEN SAY: That is the end of the session today. The skill you have practiced today may be utilized in other situations. As well, any time you are called upon to respond to suggestions, you should use the techniques that you have learned and worked with here. THE EXPERIMENTER SCHEDULES FOR THE NEXT SESSION THE POSTTEST OF SUSCEPTIBILITY.
APPENDIX B [[The suggestions]]
	Audio Training Information
		Remember how in old movies the hypnotist would have the subject fixate on a dangling pocketwatch? As the subject followed the watch with his or her eyes, the hypnotist would suggest repeatedly in a low voice something like: "You are becoming sleepy; your eyelids are getting heavier and heavier and are closing, closing completely; you want to go sleep; you are falling into a deep, deep sleep". In one form or another, these instructions are still presented by hypnotists to their subjects today. You may recall that in your last session in this lab, you were presented with these kinds of instructions, albeit without the watch. You were repeatedly told by the voice on the tape recorder that you were falling into a deep sleep.

		It was once commonly believed that giving subjects repeated instructions to go to sleep would cause them to go into a hypnotic trance. When in this trance, the subject was believed to come under the direct control of the hypnotist. The hypnotist was believed to take over the hypnotized subject's mind and body to do practically anything. The subject was thus viewed as an automaton or robot, who was fully subject to the commands of the hypnotist. This view of hypnosis is one of the great misconceptions in the history of psychology. Subjects in a hypnotic session are, in fact, fully awake and are in full control of all their actions. The repeated instructions for sleep do not cause you to go into a "trance" in which you "lose control of your actions" and become a "robot". No such hocus pocus is involved in hypnosis. Hypnosis has nothing whatsoever to do with any loss of consciousness, trances, or a loss of control. Far from involving a loss of control, hypnosis actually involves a skill that is within the full control of the individual. It is a skill that anyone can learn and master, if given proper instructions and enough practice. In this sense, it is no different than learning the skills required to ride a bicycle, to swim, or to solve mathematical problems. The repeated instructions for sleep simply serve the purpose of enabling you to relax and put your mind on learning the hypnotic skill.

		Few people are ever taught the hypnotic skill, and as a consequence, few people are able to produce hypnotic responses. Asking the subject who has never learned the hypnotic skill to respond hypnotically is similar to asking a person who has never learned to swim, to swim the length of a pool. Clearly, the non-swimmer has first to learn how to swim before being able to swim the length of the pool. Similarly, the subject who has never learned the hypnotic skill has first to learn this skill before being able to produce hypnotic responses.

		In order to enable you to learn the hypnotic skill, I am going to show you exactly what this skill involves and then give you plenty of opportunity to practice it. Learning the hypnotic skill is fully within the capabilities of normal individuals provided they know just what is is that they must do. In fact, research shows that any well-adjusted person of your age is fully able to learn the hypnotic skill provided he or she puts forth sufficient effort. As in learning any new skill, learning this skill is completely within your control and is quite rewarding to master. In addition, individuals who learn the hypnotic skill find it a very interesting experience.

		What the hypnotic skill involves is that. you make believe something. Before I describe this skill in more detail, let me give you an example. You are probably familiar with the Charlie Brown comic strip. In it, Charlie Brown's dog, Snoopy, is often pictured sitting on his doghouse wearing a helmet and a scarf, paws outstretched, and gritting his teeth. Snoopy gets deeply involved in a make-believe situation. He imagines himself to be in a situation in which he is a World War I flying ace in the air somewhere over Germany, in hot pursuit of the Red Baron. He gets so involved in his make-believe actions that, for the moment, he actually believes he's flying an airplane somewhere over Germany. He simply forgets that he's really a dog on a doghouse. It's plain to see that Snoopy is in total control of his actions.

		Let us more carefully analyze what Snoopy is doing. First off, he himself creates an entire make-believe situation. He does this through the direct control of his imagination. He actively imagines such things as the clouds around him, his own airplane and that of the Red Baron's, the roar of the engines, and everything else that is part of such a situation. In short, through his imagination, in which he is in direct control, he creates an entire make-believe situation.

		However, it is important to understand that the hypnotic skill involves more than simply imagining a particular situation. A further analysis of the Snoopy example will illustrate what I mean. Snoopy did something more than simply create a new situation. He vent one step further and actually became a part of that situation. He completely replaced the situation he was in formerly with a new one. He let the "World War I" situation completely replace the one in which he was merely "a dog on a doghouse". This had the interesting effect of making the "World War I" situation seem real, because it was the only one to which Snoopy was directing his attention. According to modern psychology's definition of hypnosis, Snoopy was hypnotized because he was so preoccupied with his imaginings of the make-believe that he forgot they were make-believe.

		This skill is therefore not unusual nor mysterious. It's a rather common occurrence and what is meant when someone is said to be "absorbed", or "deeply involved", or "really into" their thoughts and imaginings. This skill is, of course, totally within your control, for you can initiate or terminate it whenever you like. To further illustrate the degree of control you have in hypnosis, think of what young children are like when they play. Needless to say, they quite readily get involved in the make-believe. Nonetheless, even children possess the ability to shift from the real to the imaginary world and back again whenever they like. For instance, when mother beckons that supper is ready, a child easily shifts his or her attention from the make-believe world to the real world goal of satisfying his or her hunger.

		It's worth noting that we never lose our skill at becoming deeply involved in our imaginings of make-believe. For one reason or another, however, we simply do not do it as much as children do. At any rate, you will no doubt be surprised at how good you are at this skill. Our research suggests that you will get better and better at it the more you get a chance to practice.

		Nov, what are you going to make-believe? You will not be asked to do things as extreme or as potentially embarrassing as being a World War I flying ace or a famous movie star. Instead, you will be asked to involve yourself in some simple make-believe actions of a non-embarrassing kind. Soon you will be presented with some suggestions, four in all, not much different from the ones you were presented with the last time you were in the lab. It is these suggestions that will provide you with the make-believe situation what you will involve yourself in.

		The first suggestion you will be presented is an arm rising suggestion. It will inform you of exactly what it is you are to make believe. It will specifically tell you that your arm is like a hollow balloon being pumped up with helium, and that the helium being pumped in makes your arm so light that it rises into the air by itself. In response to this suggestion, you must do everything that is required of someone making believe such a thing, you must lift your arm up, and you must imagine that the helium, and anything else you wish to imagine that is consistent with such a make-believe situation.

		Of course your arm will not really go up by itself. You must raise it. However, you can make it feel like it is going up by itself by focusing on the make-believe situation that your arm is hollow and being filled with helium. As long as you focus in and elaborate on this make-believe situation and do not let yourself think about other things, the arm will feel like it is going up by itself. You must become very deeply involved in the make-believe and actually make it seem real. Becoming involved requires that you keep your attention only on the things the suggestion tells you to imagine. You must rivet your attention on the hollow arm, its lightness, the fact that it's going up by itself, and so on. Don't imagine or pay attention to anything that is unrelated to the make-believe situation. Attending strongly to imaginings of the make-believe situation only, will help prevent the possibility of irrelevant thoughts entering your mind and shaking you out of the make-believe world.

		Before you are given an opportunity to respond to this suggestion, you will be shown a videotape of another subject responding to it. When this subject's responses were taped, she had already gone through a good deal of practice at responding to this suggestion and several others. I am presenting you her responses to give you a clearer idea on how properly to respond to this suggestion. When I roll the tape, you will observe that the subject verbalizes many of her thoughts aloud. She was asked to do this as a means of illustrating to viewers, such as yourself, that all of her thoughts and imaginings during the suggestion are on the make-believe situation, and on nothing else. (PLAY VIDEOTAPE OF MODEL).
	Arm Rising Suggestion
		Close your eyes. Place your right arm straight out in front of you at shoulder height. (PAUSE) Imagine that your right arm is light and hollow, like a balloon, and that it is gradually being pumped up with helium. The helium is lighter than air and it is causing your hollow arm to become lighter and lighter and to rise in the air. It's slowly rising into the air. More and more helium is being pumped into your arm, and the arm is getting lighter and lighter and just continues to rise. (WAIT 25 SECONDS) Relax your arm now and place it on the table and continue to relax.

		The next suggestion to be presented is the hand-lock suggestion. It will tell you just what you are to make believe. It will initially tell you to fold your hands. Then it will tell you to imagine that your hands are really two hunks of steel that are welded together. Following this, the suggestion will challenge you to pull the hands apart. Despite this challenge, don't pull the hands apart. Instead, make believe that the hands are so tightly welded together that despite your best efforts, you simply cannot get them apart.

		Remember what the hypnotic skill involves. You must let yourself become so deeply involved in the make-believe that it actually seems real. Do this by only imagining and thinking things that are connected with the make-believe situation.

		Now, observe the subject responding to the hand-1ock suggestion. As she is being presented with the suggestion, she will carry out all the suggested actions and, in addition, she will verbalize aloud the appropriate kinds of thoughts and imaginings one should have during this suggestion. (PLAY VIDEOTAPE OF MODEL)
	Hand-lock Suggestion
		Close your eyes. Place your hands on the table, and clasp them together, interlacing the fingers. (PAUSE) Imagine that your hands are two pieces of steel that are welded together so that it is impossible to get them apart. They are two pieces of steel welded together. When I ask you to pull your hands apart, they will be stuck and will not come apart no matter how hard you try. Okay, try to pull them apart. (WAIT 25 SECONDS) Okay, now relax, the suggestion is over, your hands can come apart again.

		The next suggestion will tell you that you see a book on the desk in front of you even though there is really no book there. The suggestion will start out by telling you to close your eyes and will tell you that the book is on the desk in front of you. It will suggest that you see the book once you open your eyes. The suggestion will then instruct you to open your eyes and actually see the book. In response to this suggestion, you are to make yourself see the book and, in addition, you are to make believe that the book you are seeing is physically there and part of the natural setting of the room, and not simply something you are artificially making appear. The main idea idea then, is to make the book you see seem like a natural part of the room. Just let yourself become totally involved in making believe that the book is really there.

		There is another thing. Towards the end of the suggestion you will be asked to push the book off to the side. This action is also part of the make-believe. Even as you do it, continue to make believe there is really a book there.

		Now, observe the actions of the subject on the videotape when she is presented with the suggestion to see the book. As before, she will verbalize aloud the appropriate kinds of imaginings and thoughts one should have when acting in response to this suggestion. Pay careful attention. (PLAY VIDEOTAPE OF MODEL)
	Book Hallucination Suggestion
		Place your hands on your lap and close your eyes. (PAUSE) I'm not sure if you've noticed, but there is a book of mine on the desk in front of you. It is an average-sized book, one like hundreds you've seen. It is right there in front of you on the desk. Open your eyes and look at the book sitting there on the desk. (WAIT 20 SECONDS) To avoid the book being in your way, why don't you just slide it off to the side. (WAIT 20 SECONDS) The image of the book is now fading. It has faded completely and you can no longer see the book.

		The next suggestion is one that will tell you that you are forgetting something you know. Specifically, the suggestion will state that the memories of the suggestions you were presented earlier in this session are fading completely from your mind. The suggestions I am referring to are, of course, are the arms rising suggestion, the hand-lock suggestion, and the suggestion to see the book. In response to the suggestion to forget, you are to make yourself forget the other suggestions. Do this by concentrating deeply on something other than the memories, thereby distracting yourself from them. By distracting yourself in this manner, you will be unable to remember the suggestions.

		The suggestion to forget also requires that you make believe that the suggestions are actually fading from your memory all by themselves and that you are doing nothing to make them go away. Therefore, you are to make believe that your forgetting is something that just happens to you, not something that you are causing.

		As usual, you are to become deeply involved in this make-believe. Only attend to the make-believe situation; namely, that your memories of the suggestion are just fading away by themselves.

		There is another matter. At one point in the suggestion, you will be challenged to remember the suggestions and write them down on a piece of paper. Despite this challenge, you are to continue to distract yourself from the suggestions while making believe you really cannot remember them. The challenge is all part of the make-believe situation. It is meant to further establish the fact that, despite your best efforts to remember the suggestions, you simply cannot; they're gone.

		To summarize, your task is to become so deeply involved in the make-believe that you don't notice that it's really you who is preventing the recall of the memories.

		Following the challenge to remember the suggestions, there will be a one-minute pause in which you will be able to write down any of the suggestions that you remember. This, in turn, will be followed by the cancellation of the forgetting, that is, the voice will say that you can remember the suggestions again. Once this is done, you will be asked again to write the suggestions down on another piece of paper that will be provided. It will be all right, at this point to stop distracting yourself, stop making believe, and actually write down the names of the suggestions on the paper.

		Now, observe the subject on the videotape respond to this one. As she is presented with the suggestion, she will again verbalize her thoughts. Notice that her thoughts and imaginings are on things other than the memories of the suggestions. Notice also that she continues to distract herself even when she is provided with the challenge to try to remember the suggestions. The important thing to grasp here is that she directs her attention to other things, Yet never admits or even thinks that what she is doing is in any way connected with forgetting the suggestions. By doing this, she can do all the suggestion requires, she can forget the suggestions presented earlier, and she can simultaneously make believe that she has done nothing to make the suggestions go away. Attend carefully to what she does. (PLAY VIDEOTAPE OF MODEL)
	Amnesia Suggestion
		Close your eyes. As you recall, you were given three suggestions. However, a funny thing is beginning to happen. The memory of these suggestions is fading, fading completely. In fact, you are totally unable to remember what these suggestions were. Nevertheless, I want you to try to remember them -- even though this will be impossible. Open your eyes and write down the suggestions that you can remember on the sheet of paper on the desk. You will be given one minute to do so. Begin (WAIT ONE MINUTE) Time is up.

		Now the memories are returning. They are becoming more and more clear. In fact, you can remember all the suggestions that were presented. Write down all of the suggestions on the paper provided. Again, you will have one minute. (WAIT ONE MINUTE) Time is up.
	Instruction for Test Suggestions
		In a moment, you will be presented with four more suggestions that are different from the ones you've just been presented. In addition, the upcoming suggestions will be presented one after the other with only sufficient time in between for you to make a full response. That is, you will be presented with a suggestion, given ample opportunity to respond to it, and then be presented with the next suggestion right afterwards, and so on.

		You will not be given the extensive instructions you were given before. You will not, for instance, be told what an upcoming suggestion is, nor will you be given any instructions on how exactly to respond to such a suggestion. The reason why I am taking these measures is because you already know how to go about responding hypnotically, so going over the instructions again will probably be dull and boring for you. There is another even more important reason. Suggestions presented in this manner will require that you apply the skills you've learned to new tasks. As a good hypnotic subject, you must be able to respond hypnotically to any suggestion you are presented, even if you have not received it before or have not been given instructions on how to respond to it. With the basic skills you have now learned and with a little effort and creativity on your part, you will no doubt be able to respond hypnotically to any new suggestions that you are presented.

		Now, close your eyes and take half a minute to mentally rehearse the hypnotic skill and really get yourself psyched-up to respond hypnotically to each of the four new suggestions to be presented. I'll present the suggestions beginning in 30 seconds. (AFTER 30 SECONDS, THE TEST SUGGESTIONS ARE PRESENTED)
	Arms Apart
		Close your eyes. Place both of your hands straight out in front of you at shoulder height, with the palms facing one another and with the fingertips of one hand touching the fingertips of the other. Imagine that a force is beginning to make the hands repel one another. The force is getting stronger and stronger. It's getting so strong that it is beginning to push your hands apart. It's getting stronger and stronger and your hands are moving further and further apart. (WAIT 20 SECONDS)

		The force is no longer active. Place your hands back the table. Continue to relax.
	Hearing a Voice
		You are taking a course in the history of psychology and you are now in the classroom. In a moment, the professor will ask in what country Sigmund Freud was born. Of course, you know from your studies that is was Moravia. As you can hear, the professor is already asking several other questions about Freud, and he is just getting to the country of birth question, so get ready. In a few seconds, I want you to hear the professor ask Freud's birthplace and raise your hand to answer the question. (WAIT 20 SECONDS) Okay, he's calling on someone else. You can lower your hand. Perhaps he'll call on you in tomorrow's class. Keep your eyes closed and continue to relax.
	Head Lowering Suggestion
		Now, imagine that a force is pushing down on the top of your head, causing it to feel heavy. It feels like someone has placed the palm of their hand on the top of your head and is pushing downward. Your head is being pushed down with such force that your chin is moving toward your chest. The force continues to push, making your head feel heavier and heavier, making it fall forward more and more. (WAIT 20 SECONDS) The hand is no longer pushing on your head and you can sit up again and relax. Continue to relax.
	Amnesia Suggestion
		As you recall, you were just given three suggestions. However, a funny thing is beginning to happen: The memory of these suggestions is fading, fading completely. In fact, you are totally unable to remember what these suggestions were. Nevertheless, I want you to try to remember them, even though this will be impossible. Open your eyes and write down the suggestions on the sheet of paper on the desk. You will be given one minute. Begin. (WAIT ONE MINUTE) Time is up.

		Now the memories are returning. They are becoming more and more clear. In fact, you can remember all the suggestions that were presented. Write down all of the suggestions on the paper provided. Again, you will have one minute. (WAIT ONE MINUTE) Time is up.
APPENDIX C [[Model's thoughts during the suggestions]]
	Transcript of Model's Verbalizations during Suggestions
		H = Hypnotist M = Model
	Arm rising Suggestion
		H: Place your right arm straight out in front of you at shoulder height. (PAUSE) Imagine that your right arm is light and hollow like a balloon, and that it is gradually being pumped up with helium. The helium is lighter than air and it is causing your hollow arm to become lighter and lighter and to rise in the air. More and more helium is being pumped into your arm, and the arm is getting lighter and just continues to rise.

		(WAIT 25 SECONDS)

		M: It's going up by itself. If feels hollow. I can see the pump. I can feel the arm being pumped up. It's really light. It's moving up by itself. It just keeps getting lighter and is going up by itself. It's just getting lighter and lighter.

		H: Relax your arm now and place it on the table.
	Hand Lock Suggestion
		H: Place your hands on the table and clasp them together, interlacing the fingers. (PAUSE) Imagine that your hands are two pieces of steel that are welded together so that it is impossible to get them apart. They are two pieces of steel welded together. When I ask you to pull your hands apart, they'11 be stuck and won't come apart no matter how hard you try (WAIT 20 SECONDS) Okay, try to pull them apart. (WAIT 20 SECONDS)

		M: They're really stuck together. This is impossible. They're welded together. They're just two hunks of steel welded together. I can't get them apart.

		H: Okay, relax. Your hands are no longer stuck together. You can pull them apart. Continue to relax.
	Book Hallucination Suggestion
		H: Place your hands on your lap and close your eyes. (PAUSE) I'm not sure if you have noticed, but there is a book of mine of the desk in front of you. It's an average size book, one like hundreds you've seen. It's right there in front of you on the desk. Open your eyes and look at the book sitting there on the desk. (WAIT 20 SECONDS)

		M: There it is. I can see it on the desk. I see the book sitting there. It's kind of vague and fuzzy ... a vague, colored outline of the book; but it's there.

		N: To avoid the book being in the way, why don't you just slide it off to the side. (WAIT 20 SECONDS)

		M: I'll just push it over there and get it out of the way.

		H: The image of the book is now fading. It's faded completely and you no longer see the book.
	Amnesia Suggestion
		H: As you recall, you were just give three suggestions. However, a funny thing is beginning to happen, the memory of these suggestions is fading, fading completely. In fact, you are totally unable to remember what these suggestions were. Nevertheless, I want you to try to remember them -- even though this will be impossible. Open your eyes and write down the suggestions that you can remember on the sheet of paper on the desk. You will be given one minute. Begin. (WAIT ONE MINUTE)

		M: It's funny. I can't seem to remember any of the suggestions. All I can feel is a real heaviness all over my body, but especially in my feet. My feet are tingling, they're just heavy and tingling. It's a funny sensation. It feels kind of nice. It reminds me of lying on the beach, letting the sun tan my body. Watching the people go by and the children ....

		H: Time's up. Now the memories are returning. They are becoming more and more clear. In fact, you can remember all the suggestions that were presented. Write down all of the suggestions on the piece of paper provided. Again, you will be given one minute to do so. (WAIT ONE MINUTE)

		M: Now that I think of the suggestions, I can remember them quite clearly.
APPENDIX D [[Model's explanation after the suggestions]]
	Transcript of Interview between Model and Hypnotist
	Arm-rising Suggestion
		H: So, how did you find responding to this one?

		M: It was really good. With practice, I got better and better at it.

		H: I see.

		M: It'a just like you said, it's like learning any skill like swimming or math. It just takes coaching and practice. And this skill, it's really important that you use your imagination. You have to picture all the make-believe events in your mind.

		H: Like what?

		M: Well, for instance, I just let myself imagine that my arm was hollow. I could see it that way in my mind; you know, I could see uy hollow arm with the air hose attached to it. I even imagined the pump. It was just like the air pumps that they have at gas stations. I could see the pump and the hose coming from it and pumping up my hollow arm.

		H: I see.

		M: And there's another really important thing. You really have to let yourself get into it. That really made the difference like you said it would. Like, I didn't just sit back and say, "Hey, I'm imagining all this". commenting on it would have just ruined the feeling. I just let myself get totally engrossed imagining my arm as hollow and being pumped up, and when I did, it all felt like it was really happening.

		H: So, it felt real.

		M: That's right. That's the point of all this, isn't it? You've got to make it feel real.

		H: Yes, exactly.

		M: There's a real knack to it. I found myself getting better at it as I practiced.

		H: Very good.
	Hand-lock Suggestion
		H: How was this one?

		M: Good. I think I'm really getting good at the skill now.

		H: Yes, you sure are.

		M: I just let myself feel everything that was suggested. It really felt like my hands couldn't come apart.

		H: Anything else?

		M: I just pictured that my hands were two heavy, cold blocks of steel that were welded together. I got so into these thoughts that they actually felt that way.

		H. That's right.

		M: If I'd stopped imagining and admitted to myself that they could come apart, then sure, of course I could have made them come apart, but that wasn't the point of the suggestion. The point was to get involved in the make-believe no matter what. So I just kept really involved in imaqininq my hands were welded chunks of steel. And I did this until the suggestion was completely over.

		H: Very good. That's just what I wanted you to do. Anything else?

		H: Uh. No, can't think of anything.
	Book Hallucination Suggestion
		H: How did you find this one?

		M: Well, before I was even asked to open my eyes, I had everything pictured in my mind. Like, I pictured the desk and I pictured the book on it. I pictured all the details of how the book would be positioned on the desk and how the book itself would look. I could see the book near the edge of the desk and on the book I could see the little call number sticker and the stamps and everything.

		H: And when you opened your eyes?

		M: You know, it's funny. Opening my eyes didn't make much of a difference.

		H: How do you mean?

		H: Well, everything I pictured when I had my eyes closed, I let carry over to when I had my eyes open. I didn't let a thing change. I let myself see the book on the exact spot when they were open as I had pictured it when they were closed.

		H: I see what you mean. That's quite clever. Anything else?

		M: There's another thing. It's really important to concentrate as deeply as possible. Like I know it's important to concentrate on all the suggestions, but it's especially important with this one. You can't let your thoughts wander for a second. You really have to let yourself see the book there all the time.

		H: Uh hum.

		M. There's a real knack to this. It's a skill just like you said it was, but it's a strange one. It's a skill at NOT noticing that you're really acting.
	Amnesia Suggestion
		H: How was this one?

		M: Pretty good. I just let my attention drift away from the memories of the suggestion.

		H: So it was YOU who caused the forgetting.

		M: Sure, in a way. You can only remember things by sort of stopping what you're doing and letting yourself think back to what you're supposed to remember.

		H: Ah yes, I see.

		M: I just didn't stop and let myself think back. Instead, I just let my mind become preoccupied with other things.

		H: Like what?

		M: For instance, I noticed that my feet felt heavy and tingling, and so I just concentrated on these sensations in my feet. As long as I did that, and didn't shift my attention back to what I was supposed to remember, then I really couldn't remember.

		H: Yes, I see. What about when you were told to try and remember the suggestions?

		M: Well, it's like with the other suggestions ... you know, when I was asked to try to separate my hands. I didn't stop thinking of my hands as stuck and welded together. For the suggestion to forget, I just kept on distracting myself. The point of the suggestion was to keep up the forgetting no matter what, so that's what I did.

		H: Yes, that's right. Anything else?

		M: No ... well except that, like I said before, there's a real knack to this. You can really get good at it once you practice. You can really feel yourself getting better at controlling your mind to do all these things.

		H: Almost everyone finds that.

		M: Like, you can actually turn the make-believe into reality ... and get good at it! It's actually kind of fun!

		H: You know, almost everyone finds that too.
APPENDIX E - HONESTY INSTRUCTIONS
	Hi there, I'm _____. I am going to play a full length hypnosis tape and you will have a chance to respond to the suggestions. I will also give you a response booklet and another questionnaire; both will ask you about the experiences you have during the tape. What we want you to do is be honest with yourself in answering these questionnaires. The reason. I am stressing this is that you might be tempted to think that saying that you experienced suggestions during the tape is the correct answer for this experiment, and quite naturally you want to do well. But please do not mark the questionnaires or respond to the tape in a certain way simply because you think it will please us. If you in fact do see or feel things during the suggestions that's fine, and of course we want you to say so. If you do not see or feel things, however, we want you to say that, too. The only correct answer, as far as you are concerned, 1s an honest one.

	Note: For honesty after condition, instructions were read in the past tense since subjects had already responded to the suggestions.
APPENDIX F [[Induction & Suggestion Scale]]
	The Carleton University Responsiveness To Suggestion Scale Audiotape Instructions for Induction Procedure
		Close your eyes. Your ability to be hypnotized depends entirely on your willingness to cooperate. It has nothing to do with your intelligence. As for your will power, if you want to, you can pay no attention to me and remain awake all the time. On the other hand, if you pay close attention to what I say, and follow what I tell you, you can easily fall into a hypnotic sleep. Hypnosis is nothing fearful or mysterious. It is merely a state of strong interest in some particular thing. In a sense you are hypnotized whenever you see a good show and forget you are part of the audience, but instead feel part of the story. Your cooperation, your interest, is what I ask for. Your ability to be hypnotized is a measure of your willingness to cooperate. Nothing will be done that will in any way cause you the least embarrassment.

		Now relax and make yourself entirely comfortable. Relax completely. Relax every muscle of your body. Relax the muscles of your legs. Relax the muscles in your arms. Make yourself perfectly comfortable. Let yourself be limp. Relax more and more, more and more. Relax completely. Relax completely. Relax completely.

		Your legs feel heavy and limp, heavy and limp. Your arms are heavy, heavy as lead. Your whole body feels heavy, heavier. You feel tired and sleepy tired and sleepy. You feel drowsy and sleepy, drowsy and sleepy. Your breathing is slow and regular, slow and regular.

		You feel pleasantly drowsy and sleepy as you continue to listen to my voice. Just keep your thoughts on what I am saying. You are going to get much more drowsy and sleepy. Soon you will be deeply asleep but you will have no trouble hearing me. You will not wake up until I tell you to. Remember that the dangers of hypnosis are a myth. Nothing will be done that is in any way harmful to you. I shall now begin to count. At each count you will feel yourself going down, down, down, into a deep, comfortable, a deep restful sleep. A sleep in which you will be able to do all sorts of things I ask you to do. One ... you are going to go deeply asleep ... two ... down, down, into a deep, sound sleep ... three ... four ... more and more, more and more asleep ... five ... six ... seven ... you are sinking, sinking, into a deep, deep sleep. Nothing will disturb you. Pay attention only to my voice and the things I tell you ... eight ... nine ... ten ... deep asleep! You will not awaken until I tell you to do so. You will wish to sleep and have the experiences I shall presently describe.

		You are feeling comfortable and relaxed, comfortable and relaxed, and you are in a deep sound s1eep ... a deep sound sleep ... fully prepared to respond to and experience what I will ask you to do. Fully prepared to respond to each of the suggestions which I will now give you.
	SUGGESTIONS
		(1) Arm Levitation. Now, please extend your right arm straight out in front of you at shoulder height. (5 sec. pause) Pay close attention to this arm, notice that it feels tingly and slightly numb. Notice too that it is beginning to feel lighter. Your arm is beginning to feel lighter and lighter, and as it feels lighter, it begins to rise into the air. Imagine that your arm is like a balloon. Imagine that air is being pumped into it making it feel lighter and lighter. Your arm feels lighter and lighter, lighter and lighter, and, like a balloon it rises higher and higher, higher and higher into the air. It is rising, rising, getting lighter and lighter, rising higher and higher. (10 sec. pause) OK, that's fine, let your arm go back to its original position in your lap. It no longer feels light and like a balloon. It feels comfortable and relaxed just like your other arm.

		(2) Arms Moving Apart. Now please extend both of your arms straight out in front of you at shoulder height with palms facing one another and with the finger tips of one hand touching the finger tips of the other. (5 sec. pause) Pay close attention to your hands. Notice the sensations that you feel in your hands: warmth, tingly feelings, and a little heaviness. Notice also that your hands are beginning to separate and move apart. Your hands are moving further and further apart, further and further apart. Your hands feel like two magnets repelling each other, they feel as though they are being forced apart, further and further apart, wider apart, moving further and further apart. (10 sec. pause) OK, that's fine, just put your arms back in your lap and let them relax.

		(3) Arm Rigidity. Please hold your left arm straight out in front of you at shoulder height. (5 sec. pause) Notice that your arm feels slightly numb and that it is beginning to feel tight. Your arm feels tighter and tighter. It is becoming stiff and tight, stiff and rigid. Imagine that your arm is in a splint so that the elbow will not bend. A tightly splinted arm cannot bend. Your arm feels stiff and rigid, solid and rigid, it feels stiff, rigid and unable to bend. In fact, your arm feels so stiff and so rigid that it won't bend. Test how stiff and rigid it is. Try to bend your arm. (10 sec. pause). OK, that's fine, your arm no longer feels stiff or rigid. You can once again bend it easily. Just let it relax and replace it in your lap.

		(4) Arm Heaviness. Please place your right forearm on the table in front of you with the palm of your hand facing down. (5 sec. pause). Concentrate on your hand and arm. Notice that they are beginning to feel heavy, very, very heavy. Imagine that very heavy weights have been placed on your hand and arm. The weights are vary heavy and they pin your hand and arm to the table in front of you. The weights are very heavy and they make your hand and arm feel very heavy, very, very heavy. In fact, your hand and arm feel so heavy and so weighted down that you won't be able to lift them from the table. Your hand and arm feel heavy, very, very heavy, much too heavy to lift from the table, too heavy even to move. Test how heavy your hand and arm are. Try to lift your hand and arm from the table. (10 sec. pause). OK, that's fine, your hand and arm no longer feels very heavy and you can now lift them without difficulty. Let your hand and arm relax and replace them in your lap.

		(5) Music Hallucination. Please listen very carefully to everything that I tell you. (5 sec. pause). I have brought a record player into the room and I am now placing the record "jingle bells" on it. The volume is turned down so that you cannot yet hear the music. However, I will slowly begin to turn the volume up, and as I do you will hear the song "jingle bells" becoming louder and clearer. You will enjoy listening to the song and it will bring back pleasant memories. In fact, you will enjoy listening to the song so much that you will move your head to keep time to the tune. OK, I'm beginning to turn up the volume and, by listening carefully, you can probably begin to hear the tune. The volume is higher now, keep listening to jingle bells and let your head keep time with the tune until I ask you to stop. (15 sec. pause) OK, that's fine, I've turned the record player off now and the tune has stopped. Just sit quietly for a moment and let yourself relax still more.

		(6) Kitten Hallucination. Please keep your eyes closed until I ask you to open them. (5 sec. pause) Perhaps you didn't know that we keep a pet kitten here in our lab. It's really a very cute, fluffy, little kitten. You were so relaxed a moment ago that you may not have noticed that the kitten quietly crawled into your lap and is now sitting there. In fact, if you concentrate, you can feel it sitting quietly in your lap. In a moment I will ask you to open your eyes, look at the kitten sitting in your lap, and pet it with your hand. It's a very friendly kitten and it likes to be petted. Please open your eyes, look at the kitten, and pet it. Keep looking at the kitten until I ask you to stop (15 sec. pause) OK, please close your eyes and relax once again. The kitten is no longer in your lap. You are going to wake up in a few minutes. You will feel refreshed, wide awake, and in a good mood. I will count from 5 to 1 and with each count you will be more fully awake ... 5 ... starting to wake ... 4 ... more and more awake ... 3 ... still sore and more awake ... 2 ... becoming more and more awake ... 1 ... more awake. Open your eyes. Wide awake.

		Now please open your booklet and answer the questions.

		NOTE: The last line was omitted for the honesty after condition. Instead, the experimenter entered the room and administered the honesty instructions.
APPENDIX G - The Carleton University Responsiveness to Suggestion Scale Response Booklet
	[[Cover Page]]
		Name: _____
		Date: _____
		Age: _____
		Sex: _____
		Occupation: _____
		Telephone: _____
		Student Number: _____

		PLEASE DO NOT OPEN this booklet until specifically instructed to do so.
	SECTION ON OBJECTIVE, OUTWARD RESPONSES
		Listed below in chronological order are the specific suggestions you were administered following the standard hypnotic induction procedure. We wish you to estimate whether or not you objectively responded to these suggestions, that is, whether or not an onlooker would have observed that you did or did not make certain definite responses by certain specific, predefined criteria. Thus, in this section we are interested in your estimates of your outward behavior and not in what your inner, subjective of it was like. Later on you will be given an opportunity to describe your inner, subjective experience, but in this section refer only to the outward behavioral responses irrespective of what the experience may have been like subjectively.

		It is understood that in some cases your estimates may not be as accurate as you might wish them to be and that you might even have to guess. But we want you to make what ever you feel to be your best estimates.

		Beneath a description of each of the six suggestions are sets of two responses, labelled A and B. Please circle either A or B for each question, whichever you judge to be the more accurate. Please answer question. Make sure that you do not skip any questions. Please answer every one.

		1. Arm Rising (right arm)
			You were asked to extend your right arm straight out in front of you, and were told that your arm was rising into the air. Would you estimate that an onlooker would have observed that your arm had risen at least six inches (before the time you were asked to replace the arm in your lap)?

			Circle one:
			A. My arm rose at least six inches
			B. My arm rose less than six inches
		2. Arms Moving Apart
			You were asked to extend your arms straight out in front of you with the fingers of one hand touching the fingers of the other. You were then told that your arms were moving apart. Would you estimate that an onlooker would have observed that your hands had moved apart by at least six inches (before the time you were asked to replace them in your lap)?

			Circle one:
			A. My hands had moved apart at least six riches
			B. My hands moved apart less than six inches
		3. Arm Rigidity (left arm)
			You were asked to hold your left arm straight out in front of you, and were told that the arm was becoming stiff and rigid and that it would not bend. You were then asked to try to bend it. Would you estimate that an onlooker would have observed that there was less than two inches of arm bending (before you were told that your arm was no longer stiff and to replace it in your lap)?

			Circle one:
			A. My arm was bent less than 2 inches by then
			B. My arm was bent 2 or more inches by then
		4. Arm Heaviness (right arm)
			You were asked to place your right forearm on the table with your hand facing down. You were then told how heavy your arm and hand felt and asked to try to lift them from the table. Would you estimate that an onlooker would have observed that you did lift your hand and arm at least one inch up from the table (before being told that your arm was no longer heavy)?

			Circle one:
			A. I did lift my arm and hand at least one inch by then
			B. I did lift my arm and hand an inch or more by then
		5: Experiencing Music
			You were told that a record player had been brought into the room, and that you would move your head to keep time to the tune. Would you estimate that an onlooker would have observed you to make recognizable movements of the head (before you were told that the record player had been turned off)?

			Circle one:
			A. I did recognizably move my head to the tune
			B. I did not recognizably move my head to the tune
		6. Experiencing a Kitten
			You were told that a kitten was sitting in your lap. Then you were asked to look at the kitten and to pet it with your hand. Would you estimate that an onlooker would have observed you to make a putting movement with your hand?

			Circle one:
			A. I did make a petting movement with my hand
			B. I did not make a petting movement with my hand
	PLEASE DO NOT RETURN TO EARLIER PAGES
	SECTION ON SUBJECTIVE, INNER EXPERIENCES I
		In this section we are interested in your inner subjective experiences instead of your outward behavior. we want to find out about what you experienced during each of the suggestions you were given. Please read each question carefully and answer it honestly. The outward response people make to a suggestion may or may not correspond to their inner experience. For example, take a person whose outward behavior is arm rising when given the suggestion that their arm is light and moving upward. In some cases a person may have experienced his or her arm as feeling light. In other cases, however, the person's arm may have moved upward even though it did not feel the least bit light. The important thing to keep in mind is that one type of experience is no better or no worse than the other. This is a scientific study, and all we are interested in is getting at the truth of what people experience. So please be honest in answering each of the following questions. Please answer every question. Make sure that you do not skip any questions.

		For each question, choose the one alternative that best describes your experience.

		1. Arm Rising
			You were told that your arm was feeling lighter and lighter and was rising in the air. You were asked to imagine that it was like a balloon and was being filled with air.

			During this suggestion my arm felt light:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
		2. Arms Moving Apart
			You were told that your outstretched arms were moving apart, and that they felt like a force was repelling them and pushing them apart.

			During this suggestion, my arms felt like a force was pushing them apart:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
		3. Arm Rigidity (left arm)
			You were told that your outstretched left arm was becoming stiff, rigid, and unable to bend. You were asked to imagine the arm in a splint.

			During this suggestion, my arm felt stiff and rigid:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
		4. Arm Heaviness (right arm)
			You were told that your arm and hand were very heavy, so heavy that you couldn't lift them from the table. You were asked to imagine heavy weights placed on your hand and arm.

			During this suggestion my arm and hand felt heavy:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
		5. Experiencing Music
			You were told that you would hear the song jingle bells and that you would move your head in time with the music.

			During this suggestion, I felt like I was hearing the tune jingle bells:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
		6. Experiencing a Kitten
			You were told that you would see a kitten in your lap and that you would pet the kitten.

			During this suggestion, I felt like I was seeing a kitten:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
	PLEASE DO NOT RETURN TO EARLIER PAGES
	SECTION ON SUBJECTIVE, INNER EXPERIENCES II
		In this section we are interested in a particular class of subjective, inner experiences. We want to find out about the extent to which you experienced your outward behavior to each suggestion as happening automatically and without a feeling of effort. For example, take a person whose outward behavior is to bend their arm when they are told that the arm is stiff and unable to bend. Such a person may have felt that his or her arm was to bend all by itself. In other cases, however, a person may not bend their arm even though they know that they could have bent it if they chose to. This person would have had the feeling of voluntarily choosing to bend the arm. Remember, one type of experience is no better and no worse than the other. we are equally interested in finding out about experiences that feel automatic and also about those that feel voluntary. All we are interested in is getting at the truth about what people experience. So, please be honest in answering each of the following questions. Please answer every question. Make sure you do not skip any question.

		For each question choose the one answer that best describes your experience.

		1. Arm Rising (right arm)
			You were told that your arm was light and rising in the air. During this suggestion, my arm felt like it rose in the air by itself. I experienced this:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree

			Remember: If you chose to lift your arm voluntarily, or if your arm did not feel like it rose by itself, you should choose alternative (a).
		2. Arms Moving Apart
			You were told that your outstretched arms were moving apart. During this suggestion, my arms felt like they were moving apart by themselves. I experienced this:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
		3. Arm Rigidity (left arm)
			You were told that your outstretched arm was becoming stiff and unable to bend. During this suggestion my arm felt like it was unable to bend. I experienced this:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
		4. Arm Heaviness (right arm)
			You were told that your arm and hand were too heavy to lift from the table. During this suggestion, my arm felt unable to be lifted. I experienced this:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
		5. Experiencing Music
			You were told that you would hear the song jingle bells. During this suggestion the tune jingle bells seemed to occur automatically, without any effort on my part. I experienced this:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree
		6. Experiencing Kitten
			You were told that you would see a kitten in your lap. During this suggestion the image of a kitten seemed to occur automatically, without any effort on my part. I experienced this:

			(a) Not at all
			(b) To a slight degree
			(c) To a moderate degree
			(d) To a great degree