Psychotherapist

A concise summary on the theory and practice of SHIP®:

On leaving, the villagers pleaded with him,

“Go not yet away from us.”

Kahil Gibran, the spiritual teacher, responded that he does not have their answers. Saviours can direct us to internal connection with Spirit, that heals our bondage of separateness.

And the same applies when we think of mythical sacred-space-places. Of course, we know that certain, mostly faraway, space-places, such as the Camino, are potential healing sites that may enhance the process of internal connectedness.

The furthest we need to travel is to our centre.

The solution lies in tapping into indigenous knowledge, the internal wisdom that is linked to Universal Wisdom. A SHIP® practitioner facilitates a client’s path as it unfolds inside of the person. It is a trusting that they will find that which they need in order to move on and reinvest in our sacred, vulnerable world.

An EPIGENETIC dance – life is an interactive dancing dialogue called motion

We inherit a genetic constitution (accumulated data from our ancestors) referred to as our genotype. Our interaction with the environment is through the medium of this genotype template and our 100 billion neuron network. Through the external connections some of our genotype potential is stimulated internally to assimilate the incoming data and to configure the most appropriate internal and external responses. These “successful” responses eventually become our default way of relating most effectively to our world, and the unique consistent grouping and expression of some the trillions of connections of our genotype potential is what we refer to as our personality type or phenotype. Each person has this unique internal configuration.

The Rubik’s cube can serve as an example of our gene template and neural network. It has six sides, each with its own colour, and nine little squares to each side.

By twisting and turning the cube on its internal axis (the effect of the environment on our internal genotype potential and neural network) the 63 little coloured squares can be changed into 43 quintillion (43,252,003,274,489,856,00) possible configurations.

Our personality type and personal boundary (our particular Rubik cube) works similar when the environment stimulates our internal genetic potential and our not 63 but 100 billion neurons, each with its extra dendrites that would increase the possible external connections with other neurons. Let us compare it to the word “save”. By changing the sequence of the letters, we may end up with the word “vase”, which has a totally different meaning. Imagine the expressing potential of our brain with its 100 billion neurons and the many trillions of neural connections.

The result is that we end up with internal configurations that are one of a kind – there is no other with an internal configuration exactly like us. In this way our personality type is a biological construct build on ancestral information in our blueprint, plus the accumulation of all our current life experiences that together have been successfully internalized as data on our internal template as memory.

Our personality type’s memory data is associatively linked as a picture of ourselves in relation to the world, and is a building of our sense of self, our personal boundary and consciousness.

Mona Lisa – a life lived

=> The emergence of Mona Lisa (her sense of self, her personal boundary, and her consciousness) is through the development of her memory

When looking at Mona Lisa, the SHIP® practitioner would be interested in how Lisa’s configuration of her internal potentialities came together into her unique Mona format, in other words the different input from her environment that created her unique current memory. And then how she would eventually drive and express this “My Lady” personality type. The eventual expression of her potential in everyday life is through different configurations of her internal genetics and memory.

[K. Kendrick – Understanding the brain: A work in progress]

The above sketch from Kendrick illustrates that Mona Lisa’s cortex (the top part of the brain) is influenced by information-experiences from both the external world and the lower areas of the body. Memory-processing over wide areas of the cortex is therefore depended on the outside world’s sensory input and the inside motor flow of this information to eventual merging with her internal ancestral acquired blueprint. And the development of her memory is depended on that there is unrestricted flow through the neural network from the lower neural areas to her cortex, and a coordinated simultaneous unidirectional (the connection between left & right hemispheres) flow of information.

When Mona Lisa’s internal flow is unrestricted, memory-processing of an experience is complete and this part of her memory can be accessed when needed. The final information gained and assimilated into her autobiography during the developmental years improves her visibility as a unique configured individual. The following sketch illustrates the different areas of her cortex referred to as the midline sense of self, where-in these personality characteristics develop.

The energy representations and connections of these midline sense of self cortex sections with each other constitute Lisa’s unique personality type. As an example, if she was a Pioneer then the activated midline sense of self representation could potentially look as follows:

The cortex of the above Pioneer sketch has more energy activation in certain areas of the midline sense of self and less in others. Such type of cortex stimulation and activated energy configuration, the development of memory formation, is therefore simultaneously the development of the unique personality type and consciousness. More stimulation enlarges personality potential accessibility and expanded consciousness. Mona Lisa’s sense of self, her boundary and consciousness are therefore, “From the same neural tree…”

Shaping of self is built on a collection of episodic memories related to, and thoughts and feelings about, space-time events in our life. People are made up of their memories and our formation of higher-order consciousness rests in part on these episodic memories.

[From: An Integrated Theory & Psychotherapy for Trauma-spectrum Manifestations, p.87]

The fact that Lisa’s development of her personality and sense of self is dependent on that her experiences have been completed and assimilated into her cortex, is also what grounds her as part of existence. A good sense of self is characterized by a combination of this grounding or stability, and flexibility. Flexibility complements the secureness of being grounded in self, in that it is easy to explore, and comfortably return to her internal point of reference. The building of the personality potential into manifested fruition has led to the midline sense of self arena in the cortex being referred to as the default mode network. In short it means that Lisa can use any of her potential to adapt and react to her environmental stimuli, seeing that the potential is open and available when needed. When at rest she automatically defaults once again to this flow state of stability and flexibility, an openness and availability of her internal potential to possible interactions with the external world. It is the process that furthers her evolution as a human.

Flow and space of tolerance

Covid taught Lisa that her average temperature is 36.4. It can fluctuate through exercise or in a very cold environment. The process of internal biological regulation would then either make Lisa sweat to cool down or start shivering to heat her up. Similarly, when sick her temperature would rise and her internal autonomic-regulatory process will kick in and fight the dis-ease in order to restore her level of flow to within her space of tolerance. This space is where-in she remains alive and functions optimally.

In the event when external circumstances (sensory information) interfere with this state of flow, her system is activated into a spike (motion exited pattern) and then needs to assimilate and integrate the new information and recalibrate (restore to flow).

The restoring to flow of the new information involves a process of evolution, an increase in Lisa’s consciousness through the completed experiences. All completed experiences add to memory.

The importance of the autonomic nervous system (ANS)

The dance of Mona Lisa’s ANS in SPACE-TIME (experiences) is a key sequence for the eventual construction of her personality type memory. Her ANS is the autonomic-regulatory centre situated in her brainstem.

External events can stimulate her system to move into ANS‘s complementary interaction of its sympathetic and parasympathetic functions.

Motor sequences

The whole information sequence experiences, from the outside world (sensory induced) to the internal (motor sequences) experience thereof, and the communication of the information through the hippocampus to its final space-time resting place in the cortex, participates in this building of Mona Lisa’s autobiographic memory. Each such completed action is based on the executions of the involuntary motion sequences of her ANS and its reciprocal recalibration to an internal state of flow. Unrestricted flow builds good memory, consciousness and adaptability.

The protecting nature of trauma

Mona Lisa’s narrative consists of the accumulation of events that are made up of good experiences and those associated with not‑so‑good feelings. Some of the not‑so‑good experiences are often, depending on the severity of the effect of the events on her at the time, classified as untold trauma stories. The following is a simplistic way to look at trauma and its effect on Lisa’s development:

Lisa can use her hand with its 5 fingers to show many different finger-combinations, such as using 2 fingers for a "peace" sign, or 2 other finger-combinations for the "cell-phone" indication, or 3 other finger-combinations for the "save" sign.

With her fingers she has 5 factorial (5!) possibilities which are 1 x 2 x 3 x 4 x 5 = 120 possibilities of showing different signs with different finger-combinations. She thus has the freedom to use any such combinations, though it does not mean she does it all the time, but that she can use them when she wants/ needs to. Trauma affects these possible finger combinations.

To understand trauma, we can use the analogy of a wave at sea:

Let us assume the wave has completed 70% of its motion, but due to the too much intensity of the effect of the external event on Lisa’s resilience to integrate the information, and the fact that she was powerless at that time to change the situation to not-at-my-expense, the remaining 30% of the wave action of the experience that was activated within her automatically goes into a "frozen" unmoving state.

This 30% of the wave action thus still needs to complete its uncomfortable activated action within Lisa’s system, and it is this 30% that is the trauma. Simply put:

Trauma is what still needs to "unfreeze" inside of Mona Lisa and what she needs to complete feeling.

Now, returning to the hand and fingers mentioned above: we see in private practice that when for instance the 30% is still an incomplete motion, it arrests those possibilities that are now in that "frozen" state. Should trauma "freeze" one finger on Lisa’s hand she will be left with 4! (four factorial) possibilities which are 1 x 2 x 3 x 4 = 24 possible ways to make finger-configurations (signs) with the remaining four fingers. And should trauma "freeze" another finger she would be left with 3! which is 1 x 2 x 3 = 6 possibilities of using her fingers to create particular finger-combination signs. The result of trauma on her available potentialities can be extremely severe in that it narrows her ability to cope with additional stressors and interrelationship problems. Her resilience has become very low and her flexibility to adapt to different stressful situations would be compromised. Stressors, such as Covid-insecurities etc., would add to this eating of her energy resilience and make her prone to bouts of irritation, angry outbursts, depression, and anxiety. It is also possible that she could manifest physical (psychobiological) symptoms in her body.

Trauma alters the dispositional formation of memory boundary. It comes into play when Lisa’s normal childhood expectation for a world with an attitude of sacred-safeness towards her (an audience of Trust, Respect, Validation, and Patience) was overridden by the perception and experience of an external agent’s (parents, teachers, peers, etc.) disregard for her expectation =>

Lisa’s perception of the external setting (the trauma-activating event) activates the sympathetic part of her ANS and its intended (and internal expected) completion of its interactive sequence. The experience of powerlessness to complete this intended action is then overridden by her parasympathetic part that inhibits firing of her activated sympathetic responses => an on-hold state of incomplete action eventually sets in as an internally focused protection reaction to not expose that part of her constitution to the too muchness experience of further disregard. It is a bit like the Tower of Pisa that is falling (sympathetic motion), but the parasympathetic braking response holds it upright and does not allow the sympathetic motion to complete its falling cycle.

The parasympathetic holding response is protecting the uncomfortable experience of “crashing through” and flooding Lisa with the experience of so much disregard. Within Mona Lisa’s autonomic regulation, the process of trauma-formation has a similar intention => it is protecting her from losing all control. This process within her system to cut out the too intenseness like a trip switch on an electric distribution board happens automatically and is the result of ancestral evolution to keep her species going. She does not know that her system is keeping the internal 30% in a disconnected state.

The downside of trauma is that certain areas of the midline sense of self does not receive the necessary developmental stimulation. The free interaction of energy expression of Mona Lisa’s genotype through potentialities is replaced by the uncertainty of how to express certain potentialities, and favouring others.

“When you lose consciousness there is:

a sudden increase of:

the amount of connected processing within local brain node structures, and

a kind of loss and breakdown of:

the transmission of an integrated and coordinated flow of information across larger areas of the brain and of unidirectionality.”

[K. Kendrick – Understanding the brain: A work in progress]

The above sketches show where in sketch 1 Lisa’s internal potential is free flowing and available to external and internal interaction. In sketch 2 the linking of different traumas has led to a trauma-chain of potentialities that are on-hold and not available for further interaction. This second sketch points out how Lisa’s constricted potential (trauma-chain) sees to less of her potentialities being open for interaction, and in this way her sense of self and consciousness have been marginalised/ narrowed.

=> On-hold energy-potential within Mona Lisa’s constitution narrows her internal world, making the experience of the external less available. In this way her childhood trauma (developmental trauma) caused experiences of losses of what could/ should have been and becomes the additional hurt of not living completely. Her internal blueprint knows that she was supposed to receive trust, respect, validation and patience from her primary caregivers and others. Thus, she unconsciously experiences a having missed out on interactions of parts of herself in relation to life and there is the forever awareness that she is

missing out on something, of not being there fully, of something holding her back, of remaining unfulfilled and not living life completely.

Most often this translates to her everyday experience of,

“Something is holding me back, and I just cannot seem to access and live my full potential.”

Coping styles

Let us recap:

Significant others affect Mona Lisa’s sense of worth during her childhood when their narrowing definition of acceptance (an absence of an audience of Trust, Respect, Validation, & Patience/time) under-stimulates parts of Lisa’s developing consciousness. Imagine Lisa would say the following:

“My mother would become impatient with me and then do the work herself. It meant that I could never do it myself and learn to trust my abilities.”

“I do not have a memory of being assertive, it does not exist. What I should have gotten would have changed what I have achieved.”

It is a stealing of the child Lisa’s otherness, i.e., her mother keeping ownership of for example assertiveness, and not stimulating Lisa’s development thereof. In other words, her care-givers remain her assertive coping style.

=> Hello! to the formation of The Famous ML Smile… Da Vinci neglected her eyebrows, so Mona Lisa uses a stunning characteristic to capture and focus.

The way Lisa would cope in relation to the outside world, the fact that she is not able to access certain parts of herself (potentialities with in her trauma-chain), means that her coping configuration will be selected from her available potentialities (see sketch below).

=> Hello! to a compensatory personality coping style:

Mona Lisa’s coping style is meant to regulate her perceived external environment (people’s actions towards her, e.g. acceptance and not rejection) through a particular interpersonal behaviour strategy (her stunning capturing smile). In this way her coping style protects her psychobiological integrity. This waking up of selective brain potential develops her unique personality type psychology out of her biological genotype platform – the how she drives this vehicle called I. For clarity the Pioneer phenotype sketch with its different energy distribution of its midline sense of self centers is again inserted below.

JOS® Profiling lists possible arrangements of how a client may begin to relate to especially external trauma-activating associations. Some examples of coping styles are the Pioneer, Director, Mentor, Fixer, Manager, Survivor, etc.

A client’s father died when she was very young, and as a result she had to take care of her mother. From that young age she adopted the coping style of a Performer, meaning she kept her mother content through achievements in order to convince her that their lives were continuing as normal.

A rigid coping style develops when the background noise is abuse instead of love (more trauma and lack of stimulation of certain personality potential). It becomes a having to keep working hard with specific personality potential to be “normal” and to fit in, with overall less psychobiological memory integration.

“The opposite of love is indifference. With my dad there was nothing to hold onto except abuse. It’s not the individual incident or incidents, but the general environment that I grew up in that stimulated a borderline coping style.”

These coping styles eventually encompass elements of automatism (conditioning), leading the person to repeat responses that protected her in the past.

While some may call the coping style the “false self”, it is as true and as gifted internal resource as any other of the internal personality potential.

Mona Lisa’s coping style, or so-called mask, is not something that she can remove and discard. It is part of her general constitution that became her default way of effectively relating to her world. The problem is, she cannot seem to do much more than that- she can only smile.

Imagine the pope has had a bad day and Mona still smiles…? It is because of its limitation as the only part of the self that developed to protect under the initial circumstances, that it may be experienced by others as out of sync to the particular current situation. But those with this default rigidity really do not know how else to do it, for mostly other potentialities exist only in their underworld of the forgotten. Or so they have come to believe. The result is that if that enchanting, yet rigid, coping smile of My Lady is taken away from her, then there is not much else to fall back onto …

Mona Lisa and projection - what is she communicating?

“The brain sees and interprets things as it expects them to be in the light of previous experiences, other than the way it actually is, and it can do so in less than 300 milliseconds.”

[K. Kendrick – Understanding the brain: A work in progress]

Mona Lisa’s future expectation (projection) is affected through the lens of her acquired associations. Now here is a very important point:

In our ANS and its connections (the neural estate that harbours our unconscious material), the expectation is that what is on-hold (trauma) will need to complete its action.

When a wave is frozen midway through its sequence, the assumption is that it will sometime unfreeze and complete its intended motion. We expect it.

=>

It is similar to the Leaning Tower of Pisa where our expectation is that the tower will eventually fall.

Or think of a photo of someone leaning forward on one foot with the other in the air – again we expect that if we could bring the photo to life the motion of the person will continue.

Mona Lisa’s conscious memory of her past, her experience of space-time, is the information that has completed it sensorimotor sequence and that was saved in the long-term memory facility in her cortex (the creation of procedural memory). Again, her completed past is not the trauma.

When our systems freeze movement, we freeze space-time for that particular movement.

With trauma the experience that has been halted means that the rest of the experience has not taken place yet. In other words, with trauma there is no conscious memory of the internal psychobiological experience that still needs to complete its motion. There is only consciousness of the external trauma-activating event. Lisa therefore does not know consciously that she is carrying trauma in her system.

Trauma is an unconscious memory of expectation.

With trauma the suspension of the transportation of information in a particular space implies that a part of Mona Lisa’s internal potential is caught in that vacuum soup of incompleteness. This internal discourse is associated with 3 Emotions (attributed to the amygdala) that portray the projected feeling of ungrounded in self:

Anger -Mona’s feeling that something happened at her expense and the anger becomes a way to keep distance so that there cannot be a repeat of this experience.

Sad – memory gaps in her communication experiences may feel to her that she is “not there fully”. This compromise of potential on-hold implies continual loss of those parts of conscious self-experience and expression in relation to the world, of missing out on such time that can never be retrieved.

Fear – Lisa’s hypervigilant expectation that the incomplete response will complete - this fear is on 2 levels:

Consciously she is working very hard to maintain integrity by regulating the external world through her coping style;

and

Unconsciously her system keeps on expecting the internal on-hold pain to complete – it is the initiation of projection that operates as if the danger is still about to happen. A succulent projection onto the external world follows as a conscious expectation that people will make her feel less worthy, or that, “I am not good enough”, or “People won’t like me”, or “I am not doing this life thing right”, etc. These repetitive projections are referred to in SHIP® as inter-translators, for they translate through the external interaction with the world that there is internal unresolved information. Inter-translators are thus the projection give-aways of internal developmental trauma. And they are characterized by a life of paradoxes:

Because the external world is seen by Mona Lisa as the culprit of her unresolved pain (which it was initially during the formation of trauma) she keeps searching for its presence in the external world. Her fear made her susceptible to the projected perception, so that current external connections could be associated with the old fear. Mona Lisa can then interpret and mould her experience of these interactions to fit and “support” her unresolved pain. Her assumptions on others’ behaviour is to find evidence for that incomplete feeling that she is searching for.

=> Projection is an unconscious expression of an expectation

that an internal natural reaction

needs to complete its intended cycle.

So here is the interesting thing:

Mona Lisa’s trauma-language expresses through the external world that becomes the stage on which she can connect with her internal issues, in order that the internal incomplete motion can be completed (the act of spontaneous healing).

The psychodynamics of spontaneous healing

On an unconscious level the drive for internal completion is exceptionally powerful:

Mona Lisa’s blueprint knows what it is supposed to receive during her developmental and also in subsequent years. When these natural psychobiological expectations (needs) were not met (due to trauma) the experience of loss propels her unconsciously to try and recreate associative situations where she can potentially connect with and fulfil this loss. Her early life unfulfilled needs, or in different words, the expectation of a climate of trust, respect, validation and patience that create an internal sense of comfort, are chased as addiction want expressions in adulthood.

The motivation to fulfil the wants through an external source is simultaneously an effort to be drawn towards the healing of the internal motion on-hold, plus the fear of what internal motion-completion still has to happen. For most it remains easier to maintain the lie by blaming on a conscious level the external world being at fault.

“Once it becomes ingrained it will use anything as further evidence to justify its existence.”

[Gabor Maté – Connection & Covid: Wisdom Gym]

Sadly though, trying to fulfil a want does not heal the childhood loss, it merely is a temporary distraction, and the projected search for completeness will keep visiting us.

Living in the present is creating the future, whereas expectations induced by trauma try to create and avoid a fictitious bad future. As long as Lisa projects there is no clarity of present experience, only the expectation of what the future might bring.

One of the great keys to successful communication is that the main thing that threatens Mona Lisa’s relationships are her relationships. Her interpersonal psychodynamic encounters where present situations create the same loss feeling (of the secure environment of trust, respect, validation and patience for her developing sense of self) of when trauma took place, are the present healing sites where she may connect with her internal trauma and be facilitated to complete the incomplete response (the 30% wave action).

Undoing the past in the present releases the future.

Through the co-orchestrated eventual interactions, Lisa and her relationship partner(s) pick their healing moments. Their interpretations make them more susceptible to the projected experience, and the attraction is based on the way they can help one another complete the internal intended action so that they can be whole.

(“You make me whole…?

No, actually that is not true, you can activate me to become whole again.”)

The association of now to what has happened is the type of healing that needs to complete inside of Mona Lisa.

Various scenarios may be projected onto the external activating agent that it has a hand in the pie of why the individual cannot do life successfully. Again, the interaction is part of the paradoxical search for authenticity, a traumatized child speaking, showing us what Mona Lisa is looking for. In connectedness lies its healing meaning that has to be unravelled. A client during SHIP® voiced the following:

I am looking for a companionship => there is a deep yearning desire to find one and having a family unit – who will love me in this state? – (Take that feeling to childhood and tell me what you are experiencing there=>) - I see my mom (cries) (=>) I feel my body falling apart in pieces => I wanted the love from my mother and I do not think I ever had it (cries) (Focus on I wanted the love from my mother and the pain of the unfulfilled need=>) – (cries) – it is such an intense need to be loved (cries) – I feel I have not lived my love, and I have a deep feeling that my love has not started yet (cries) – I feel very sad that I had to go through these experiences, that I went through hell a couple of times and I wish it could have been different, and why did I not have what my friends had - it is a massive sadness, and I do want to find that love (cries) – I just feel the need to sit in my mom’s lap (cries), it’s all I want (cries).

Once such healing has taken place through SHIP® Mona Lisa will not recreate situations through projection of her unresolved past (the adding of old stuff in the present stuff), and can therefor live life to her full capacity in flow. She has freed her future from the projected fear of her past.

From the above we can see that the projected dependency on the external, the opposite of spontaneity, is associated with Mona Lisa’s lack of internal sense of self. This underdeveloped boundary runs on her memory tank of incompleteness. It becomes not only a major motivator that affects the how of her drive to live life, but also her psychobiological reaction to stressors.

The dialogue of chronic dis-ease is a memory of incompleteness

The combination of trauma memory and environmental stressors

stimulate the internal stress response system,

the experience of things happening ‘at the expense of self’.

The more diversion of the genotype potential into a compromised personality type, the less spontaneity and the more dis-ease. Incomplete on-hold ANS motor responses (trauma) with its dysregulated effect on the internal neurotransmitter and hormonal communication patterns, provide potential for eventual manifestations defined as Post traumatic stress disorder [PTSD = shock trauma] and Complex-PTSD [C-PTSD = developmental trauma]).

Persistent somatic symptoms, or projection, represent (metaphorically) the incomplete procedural memory of a series of trauma-activating events that caused the autonomic dysregulation.

Developmental trauma is the great initiator of the “new normal” of Mona Lisa’s acquired stress response that would make her more susceptible to certain chronic dis-eases.

Spontaneous healing reactions (SHRs) – the authentic motion to complete memory

SHRs

SHRs are the psychobiological responses that are described in SHIP® as trauma-unfreezing. Even tiny external associative ques may activate these autonomic responses in our bodies that inform us about our incomplete past. When the parasympathetic hold/suspension of the motor sequence is released, it brings the remaining incomplete intended action out of the vacuum of on-hold space into the present space-time. These typical uncomfortable experiences such as nausea, muscle spasms, 3 Emotions, and many more (symptoms of PTSD and C-PTSD), automatically lead to the completion of ANS reactions. In the process long term conscious memory is completed and boundary formation restored to flow.

Uncontrolled experienced psychobiological (ANS) consciousness

is the spontaneous healing avenue.

When Mona L. lies on the psychotherapy bed and she has a desperate need for action, then the neutralizing of intended conscious action will let the SHRs run their course to completion of the original trauma. It is unfortunate that coping energy also inhibits the release of SHRs, therefore Mona will continuously be reminded by the SHIP® practitioner to not react consciously to an impulse, but to allow her internal autonomic regulatory SHRs to run their course, so that that part of the trauma-wave may complete its SHRs.

When Lisa gives in to autonomic regulation (her inner communication and universal language when sensory is translated into motor) she taps into the force of Life. It is the thing she can trust.

How do we do this listening and unravelling?

SHIP® provides the ANS the fair hearing it is asking,

for those memory gaps that need to be filled.

SHIP® - listen, the solution will unravel, and Lisa will expose her Mona

Compassion (an audience called Trust, Respect, Validation & Patience) for Mona Lisa’s unfulfilled childhood need is what will allow authenticity to unfold.

SHIP® promotes the idea that spontaneous healing is a predominant tendency that emerges from within a person. In SHIP® language the role of the psychotherapist is to facilitate this internal spontaneous healing dialogue. We learnt to live not feeling the healing, and SHIP® reminds the client to listen to their natural process. Trauma-related associations such as images, thoughts, and other memories, that carry some resemblance to the person’s trauma-activating events, can connect the person with the internal trauma and initiate unfreezing (moving into conscious psychobiological awareness) of its make-up of suspended sympathetic ANS responses. Such activating mediums expose the SHRs during SHIP® and it is given the space to spontaneously move from a trauma-induced state of dysregulation (out of the space of tolerance) to a state of flow.

Certain parameters have been developed based on years of Grounded Theory and have been integrated into a particular SHIP® Frame, a sequential moving through 5 phases of healing. The completing of procedural memory aligns self into self. When Mona Lisa fits into herself, she fits into the world.

Integration

Integration involves a completion of all sensorimotor memory sequences that reciprocally results in the transcendence of:

From dis-ease to ease – dis-ease and its projected expectations have been neutralized through SHRs and previous trauma-induced dysregulation are aligned to a state of flow (spontaneity). When Mona Lisa has healed, her symptoms have lost their dialogue value.
From trauma to the history of autobiography - due to the completion and correct filing of previous trauma into historical data, Mona Lisa evolved through the previous compromise and live freely with assertion of her potential. The sensitivity to external associative activators has disappeared and her trauma-memory has turned into wisdom.
Distributing the energy – the mentioned state of flow means Lisa’s previous trauma-induced coping style(s) is incorporated with other released potential. It is a taking back of her possession, her autonomy. The result is more flexibility to create and select different configurations of coping styles appropriate to the particular need of the situation at hand.

=>

When Mona Lisa is again in contact with all her faculties, she has the internal freedom to at different times chose to use these faculties as deemed appropriate to her in the particular context.