SHOW:
|
|
- or go back to the newest paste.
| 1 | I "discovered" this technique when I was at the barbershop waiting for my turn, and looking at a lamp in | |
| 2 | the ceiling just thinking about stuff. After a few minutes of being lost in thought I snapped back and | |
| 3 | looked away, and, naturally, saw the afterimage of the lamp burnt into my retina appear. | |
| 4 | ||
| 5 | That's when I figured "What if I can maintain this afterimage, even after the burn itself is gone?", which | |
| 6 | led me to experimenting with it and gave some pretty satisfying results. Now, some of you may already have | |
| 7 | heard of this technique, some of you may not, but I've certainly found it helpful seeing as how my | |
| 8 | visualization skills are shittier than shit playing with shit in a puddle of shit. This allows for even | |
| 9 | those who aren't as adept with their mind's eye, yet would like to start working on imposition. It can be | |
| 10 | considered a form of open-eyed visualization, but it mostly is you creating a hallucination on the spot, aka visually imposing. | |
| 11 | ||
| 12 | ||
| 13 | ||
| 14 | ||
| 15 | WHAT TO DO: | |
| 16 | Obviously you'll need a lamp, or something bright to look at. Now I don't want you to go and burn your | |
| 17 | retina by looking at a lamp for hours on end, so it's up to you to decide when you've practiced enough. The | |
| 18 | basic technique is simple: | |
| 19 | ||
| 20 | ||
| 21 | STEP 1: | |
| 22 | Look at the lamp for anywhere between 20-60 seconds, then look away, preferably at a white wall or some | |
| 23 | other opaque surface. Then focus on the afterimage that the lamp leaves in your retina. What you want to do | |
| 24 | is maintain this afterimage, long after the burn in your retina is gone. At first you won't really know | |
| 25 | whether it's the afterimage or you mentally forcing the hallucination of it into your field of vision, but | |
| 26 | after a couple of tries you should be able to maintain the image for many minutes after looking at the | |
| 27 | lamp. Your goal should be to go from maintaining it for, say, a minute, to up to 10 minutes. | |
| 28 | ||
| 29 | ||
| 30 | STEP 2: | |
| 31 | Once you've managed to hold the image for a steady amount of time and are pretty sure that if you sat there | |
| 32 | for another hour you'd still be able to see it, make it disappear. Then try to "summon" the afterimage back | |
| 33 | into sight, and try to hold the image again. You'll notice that this is a lot harder than actually | |
| 34 | maintaining an already existing image. If this comes easily, make it disappear and wait for a while, or go | |
| 35 | do something else, then later on try to summon it into your field of vision. The goal here is to be able to | |
| 36 | summon that afterimage into sight whenever you feel like it, and then maintain it for as long as you want | |
| 37 | to. | |
| 38 | ||
| 39 | ||
| 40 | STEP 3: | |
| 41 | Once you've mastered this step, it's time to start having some fun. By this point you should be able to | |
| 42 | summon the afterimage at will and hold it in your field of vision for as long as you want to. Summon the | |
| 43 | afterimage (In this scenario I'm assuming it's a circle, but whatever shape works) and try to make it | |
| 44 | bigger. Make it grow and grow until it covers nearly all of your vision. Then make it smaller again. Once | |
| 45 | you can change it's size at will, try changing the shape. If it's a circle, try turning it into an ellipse. | |
| 46 | Then a triangle, a square, a pentagon, hexagon, octagon, etc. until you can pretty much turn it into any | |
| 47 | basic shape you want to. | |
| 48 | ||
| 49 | The goal here is to move from a simple shape like a circle or line to complex | |
| 50 | shapes like a star or bird. At this point the image should still be in 2D. If it's in 3D, the next step | |
| 51 | will be a whole lot easier for you. | |
| 52 | ||
| 53 | ||
| 54 | ||
| 55 | STEP 4: | |
| 56 | Now you can play with the shapes, it's time to make them 3D. But before we do that, there is a minor step | |
| 57 | you have to master first, which may or may not be difficult. By now summoning the image into your field of | |
| 58 | vision should be a piece of cake. Try summoning a square, and then cloning it, holding both images at the | |
| 59 | same time. Once you can manage to hold both squares without losing focus, make a third one. Then a fourth, | |
| 60 | fifth, and sixth. Now try to glue them together, like the cross shape of an unfolded cardboard box. If you | |
| 61 | don't get what I mean, it should look like this: | |
| 62 | [] | |
| 63 | [][][] | |
| 64 | [] | |
| 65 | [] | |
| 66 | It should be obvious where I'm going for here. Your goal here is to try to "close" that box. Now I know | |
| 67 | this sounds /much/ easier than it actually is, and it may take you a while to get it right (or not, depends | |
| 68 | on you really. Just assume it'll take you a shitload of time so you won't feel bad when it doesn't work | |
| 69 | right away.) but once you do, you'll have much more room for experimentation. | |
| 70 | ||
| 71 | ||
| 72 | ||
| 73 | ||
| 74 | NOW TAKE A BREATHER: | |
| 75 | Alright. At this point you should take a break and look back at what you've achieved. You've managed to | |
| 76 | hold an afterimage in your field of vision as a hallucination, then manipulate it, then you've managed to | |
| 77 | make that image 3D. Congratulations, you're imposing :D U lukee fkr. | |
| 78 | However, you're not even halfway there yet. Your box probably has an opaque color or no color at all, | |
| 79 | right? :ooo KOLORZ? Yes motherfucker, you forgot about the colors. Some of you may already be able to play | |
| 80 | with them by now, but we're not all as gifted as them, so for those who can't: | |
| 81 | ||
| 82 | ||
| 83 | ||
| 84 | STEP 5: | |
| 85 | So you've got your 3D box or circle or whatever you preferred making, but there is no actual color to it or | |
| 86 | it's just a vague, transparent kind of mind-color. Not a problem. I'll break this down into two sections | |
| 87 | for those with color and those without. | |
| 88 | ||
| 89 | 5.1: | |
| 90 | If your box has no color, or no real color, it's just a shape, then what you've got to do is simply give it | |
| 91 | one. You've managed to create a hallucination of a 3D box at will, visualizing a color for it shouldn't be | |
| 92 | too hard. It may take some effort, but the important thing here is to pick a single color (preferably your | |
| 93 | favorite) and try to create an open-eye visualization of the box in that color before trying to impose it | |
| 94 | onto the actual box. Once you've managed to give the box a single color and are able to keep it that way, | |
| 95 | you can move on to the next step. | |
| 96 | ||
| 97 | ||
| 98 | 5.2: You better have read 5.1 you lazy fuck. The technique for this is basically the same, except more | |
| 99 | advanced. Your box already has a color or a number of colors, but you can't control it. So, you create a | |
| 100 | visualization of it before imposing it onto the box. Let's say you picked green. If you can hold that | |
| 101 | color, change it to red. Then blue, then yellow. If that comes easy to you, you can start by changing the | |
| 102 | color on one of the sides, for example an all yellow box with a blue front square. Vibrant, contrasting | |
| 103 | colors work best, but don't use white or black. Once you manage to color a single square, try coloring the | |
| 104 | next square in another color, and the next, and the next, until you've colored all sides differently. Once | |
| 105 | you can manage this, try changing the colors randomly. The goal here is to be able to change the colors on | |
| 106 | all sides with little to no effort at all. | |
| 107 | ||
| 108 | ||
| 109 | ||
| 110 | ||
| 111 | STEP 6: | |
| 112 | Now that your square has a bunch of vibrant colors on it, let's dim it down a bit. Your tulpa's form | |
| 113 | probably isn't a christmas tree (Though if it is don't be feeling offended, I'm sure they're a pretty | |
| 114 | christmas tree) so you'll need to be able to do softer colors as well. Try working around the spectrum, | |
| 115 | rotating your box as you change the sides into different shades of the same color. You know, baby blue, | |
| 116 | light blue, dark blue, navy blue, etc. etc. etc. Once this is also an easy thing to do, you can start by | |
| 117 | practicing making more complicated shapes like a banana or a packet of cigarettes and giving them their | |
| 118 | appropriate color. Try to be as accurate as possible. | |
| 119 | ||
| 120 | Note: If you have trouble making things other than boxes and balls and whatnot, remember that all objects | |
| 121 | make use of those elementary shapes. It may sound like the obvious when I tell you a packet of cigarettes | |
| 122 | is a rectangle, but once you get to more complex objects this is an important thing to keep in mind. If you | |
| 123 | can't impose a pair of pants, make two cilinders instead, then join them at the top and work from there. | |
| 124 | ||
| 125 | ||
| 126 | STEP 7: | |
| 127 | Itz tiem. You have finally managed to impose 3D objects with realistic colors and it costs you no effort at | |
| 128 | all. You are an imposition GOD. Not really, but this is the part you've been waiting for, practicing so | |
| 129 | hard for, and raged so often at in impatience because you weren't here yet. You've read this step over and | |
| 130 | over hoping you would get to do it one day - and now you can. | |
| 131 | ||
| 132 | That's right. Imposing the tulpa. For this part, the only thing you need to do is give your tulpa control | |
| 133 | over their imposed form after you make it. Creating their form like their wonderland form should take a | |
| 134 | while, as you'll want to implement all the details and try to make it as realistic as possible. From then | |
| 135 | on it should be up to your tulpa to make use of that form and move it around. | |
| 136 | ||
| 137 | Congratulations, you've visually imposed your tulpa :D Now you can interact with them in reality and do | |
| 138 | nsfw stuff with them while pretending you don't because it's morally wrong. | |
| 139 | ||
| 140 | ||
| 141 | ||
| 142 | ||
| 143 | Final notes: | |
| 144 | ||
| 145 | Obviously, this requires patience and lots of time, as all tulpaforcing techniques do. I've found it best | |
| 146 | to practice this at night, when I'm tired and more prone to hallucinate, however you can practice this | |
| 147 | whenever you feel is best for you. Remember to be persistent and consistent, and to incorporate your tulpa | |
| 148 | in the process whenever you can. Ask them about how you're doing, how you can do things better, etc. It's a | |
| 149 | different process for everybody so you probably won't do it exactly the way I described, but this should | |
| 150 | give you a good idea of where to start. Good luck :D |