The ability to listen is one of the main indicators of human culture. “No one admits his ignorance so vividly,” said Saadi, “as the one who, listening to the story of another, interrupts him and begins to speak himself.” Therefore, perhaps, it is more pleasant for us to deal not with those who speak well, but with those who know how to listen. Each person wants to see in his interlocutor an attentive and friendly listener. A manager who does not know how to be considerate to others will never win the love and respect of his subordinates. Therefore, it is no coincidence that one of the areas for improving the skills of managers in the USA, Japan and Germany is the "Effective Listening" course.
One of the most important points in any listening there is a moment of feedback, thanks to which the interlocutor gets the feeling that he is not speaking into the void, but with a living person who listens and understands him. Moreover, in any statement there are at least two meaningful levels: the informational level and the emotional level. In this regard, feedback can also be of two types - a reflection of information and a reflection of the speaker's feelings.
Listener reactions, listening techniques are as follows:
1. Deaf silence (apparent lack of reaction).
2. Assent (“yeah”, “uh-huh”, yes, yes, well, chin nodding).
3. "Echo reaction" - repetition of the last word of the interlocutor.
4. "Mirror" - repetition of the last phrase of the interlocutor with a change in word order.
5. "Paraphrase" - the transfer of the content of the partner's statement in other words.
6. Motivation ("So... So what's next?").
7. Clarifying questions ("What did you mean?").
8. Leading questions (what? where? when? why? why?).
9. Grades, advice.
10. Continuation (when the listener breaks into speech and tries to complete the phrase, suggests words).
11. Emotions (“wow”, “ah”, “great”, laughter, mournful mine).
12. Irrelevant statements (not relevant or related only formally).
13. Logical consequences from the statements of the partner, for example, to assume the cause of the event.
14. "Rude reactions" ("nonsense", "nonsense all this").
15. Questioning (asks question after question without explaining the purpose).
16. Neglect of a partner (does not pay attention to him
words of attention, does not listen, ignores the partner, his
the words).
Usually in listening there are 3 cycles: support - clarification - commenting. At the stage of support, the main goal is to enable a person to express his position, the appropriate reactions of the listener at this stage are silence, assent, "echo", emotional "accompaniment". At the stage of clarification - the goal: to make sure that you understand the interlocutor correctly, for this they ask clarifying, leading questions, a paraphrase is made. At the commenting stage, the listener expresses his opinion about what he heard: gives advice, assessments, comments.
The following types of listening can be distinguished: passive listening, active listening, empathic listening.
The type of listening in which the reflection of information comes to the fore is called active listening. The most common techniques that characterize active listening are constant clarifications of the correctness of understanding the information that the interlocutor wants to convey to you by asking clarifying questions such as: “Did I understand you correctly, then ...?”, “Thus, you want to say ... ” or “In other words, you mean ...”. The use of such simple techniques of embscheniya allows you to achieve two goals at once:
1. Adequate feedback is provided, your interlocutor shows that the information transmitted by him is correctly understood.
2. You indirectly inform the interlocutor that in front of him is not a child to whom you can point, and not a “dictaphone” into which you can dictate your thoughts and reasoning, but an equal partner. Occupation by you of an equal partner position means that both interlocutors must be responsible for their every word. This goal is achieved faster than the first, especially in those cases when you are dealing with an authoritarian, tough interlocutor who is used to communicating from a “pedestal” position. The use of active listening skills will greatly help you if you are in a “victim” position, as this application not only knocks the authoritarian interlocutor out of the usual position, but also raises you to the level of an equal conversation, makes it possible to focus on the essential points of the conversation, and not on your own. feelings and fears.
Active listening is indispensable for business negotiations, in situations where your communication partner is equal to you or stronger than you, as well as in conflict situations when the interlocutor behaves aggressively or demonstrates his superiority. This is a very good way to calm down and tune in yourself (and set up your interlocutor) for a business wave, if you have a desire to tease your partner, develop the conflict that has begun.
A typical mistake people make when using active listening is to follow the rules in a purely formal way, without really reflecting the content of the conversation. In such cases, a person asks the “necessary” question: “Did I understand you correctly that ....”, but, having not heard the answer, continues to develop his arguments in favor of his own point of view, ignoring the point of view of the interlocutor. Then such a person is surprised that the “Active Listening Technique” does not work: “I said: “If I understood you correctly, then ...”, but we still did not understand each other, and the interlocutor became angry with me. For what?".
The fact is that active listening, like any kind of listening, implies constant awareness of your “I-listenings” and only if there is a filter “I want to understand you” or if there are no filters at all, active listening will work.
Active listening techniques work only when you consider the situation, the content of the conversation, and the emotional state of the interlocutor. Active listening only makes sense if your partner is at least your equal. It happens, however, that you have to listen to a person who is in a state of emotional affect, in a state of strong emotional arousal, in which case active listening techniques will not work. Your interlocutor is not in literally interlocutor, he is now just a person who does not control his emotions, is not able to capture the content of the conversation. He needs only one thing - to calm down, to come into a state of normal self-control, only after that you can communicate with him “on an equal footing”. In such cases, the so-called passive listening works effectively.
It is important here to just listen to the person, just let him know that he is not alone, that you listen to him, understand and are ready to support. In this case, the so-called “uh-huh-reactions” work best of all: “yes, yes, uh-huh, of course,” etc. The fact is that the emotional state of a person is like a pendulum: having reached highest point emotional intensity, the person begins to “descend”, calm down, then the strength of his feelings increases again, reaching the highest point, it falls again, etc. If you do not interfere in this process, do not “swing” the pendulum additionally, then, having spoken out, the person will calm down and , having felt it, you can already communicate with him normally. Do not be silent, because deaf silence in any person causes irritation, and in an excited person, this irritation will be intensified. Do not ask him clarifying questions, because the question: “Do you want to say that he: did you say so-and-so?”, Asked in response to the remark “And can you imagine, then she tells me ... and I tell her I answer tea ...! ”, will only cause an outburst of indignation from your partner. Do not tell your partner: “Calm down, don’t worry, everything will be settled” - he cannot adequately understand these words, he is outraged, it seems to him that his problem is underestimated, that he is not understood. Sometimes in such cases it is useful to "attach" to the partner, to repeat his words, emotions, movements, i.e. to behave like him, to be like him, to share his feelings. But if it’s difficult for you to do this, it’s natural, it’s better not to try to repeat the actions, the word of an emotional partner, since he, having noticed your insincerity, will evaluate your actions as a mockery of; his feelings.
If the partner’s emotions are directed at you, the main task is not to get infected by the interlocutor’s emotions, not to fall into the same emotional state, which will certainly lead to a violent conflict, “showdown”. Your “I-listening” in this case could be called the word “resentment” (in this case, you were offended, it seemed to you that you were accused of something) or the words “Veda is equally right” (and then what was said to you in an emotional This remark was perceived by you as another morning for you and caused a desire to additionally affirm that you are right and you began to vigorously prove it!).
Passive listening actually requires a certain mental work, the work of becoming aware of one's "I-listenings". The techniques of passive listening will be effective only if you are aware in advance what kind of "I-listening" you have in this moment, are you able, without distorting filters, to hear the emotion that now dominates your partner, not relating it to yourself, n-infecting it, not reacting to it personally. If yes, your listening will be successful, if not, then you will just succumb to the emotional pressure that comes from your interlocutor, and in fact be the object of his manipulation of you.
Let's think about why you tell someone about your problems? Maybe to listen to advice on how you should behave in this situation? Or in order for you; appreciated, said whether you are behaving correctly? Or maybe in order to hear how the interlocutor behaved in a similar situation? Probably not, though. If Bi look at yourself frankly, you will understand that the main thing in such cases is the desire to be understood, to share, m with you those feelings, those experiences that you will experience. So the main thing, apparently, is precisely this - I: understanding the feelings of the interlocutor and empathy eii l This is the secret of good listening, one that gives the other person relief, and, as it is not unexpected, opens up new ways for him to understand himself myself. Thus, empathic listening allows you to experience the same feelings that the interlocutor experiences, reflect these feelings, understand the emotional state of the interlocutor and share it. In empathic listening, they do not give advice, do not seek to evaluate the speaker, do not moralize, do not criticize, do not teach.
1. The concept of ideomotor training
Ideomotor training (IT) is a systematically repeated, conscious, active presentation and feeling of a mastered skill. Ideomotor training can be used at all stages of specialist training.
Active representation of actually performed motor skills contributes to their mastery, their strengthening, correction, as well as acceleration of improvement.
Movement representation can be classified as follows:
. as an ideal picture (sample) of real actions, which, being a program of motor activity, perform a programming function;
. as an image that helps the process of mastering the movement and thus performs a training function;
. as an image that arises in the process of control and correction of movements in the course of their implementation, as a link and thereby performs a regulatory function.
All three functions are characterized by synchronicity.
The mechanism of action of ideomotor training is expressed in the fact that due to the use of muscle potential, an unconscious and invisible innervation of muscles occurs, the impulse structure of which corresponds to felt, imagined or imagined movements.
The "vitality" or "reality" of the representation of an ideomotor motor act determines the volume of levels involved in the "internal realization" and thus the effectiveness of ideomotor training.
Also justified following structure ideomotor training, developed on the basis of these fundamental scientific positions.
I. Internal update:
a) exposure phase (program of the lower stage autogenic training; some exercises)
b) observative phase (observations) - an optical image of the motor cycle with a special emphasis on the main points with the help of film-video recordings or cinematographs;
c) ideomotor phase (3-5-fold repetition of the internal representation in accordance with the written task).
II. External Implementation:
a) the imitative phase - the elements of the ideomotor exercise are actually performed in a time sequence in general terms ("hint" of movement) or, as it were, repeating the imaginary;
b) the phase of practical training (an exercise trained by the ideomotor method is performed practically).
2. The essence of ideomotor training
The essence of ideomotor training is as follows. Representing the movement, the athlete, as it were, sees himself from the outside. The ability to see yourself from the outside is a great help for the preparation of athletes, and this ability must be developed.
Some athletes have a better idea of fixed images than movements in general. In addition to mentally representing their movements through visual representations, most athletes also use mental self-assessment of the kinesthetic sensations associated with the memory of performing a particular movement.
It is very important for an athlete to have in his arsenal the ability to develop and improve those sensations that correspond to the performance of a certain activity. And this is also separate aspect sports training. Many coaches help their students to bring to required level tension of the corresponding muscle groups. Athletes who need to improve their emotional state before going to the start try to imagine themselves in responsible competitive situations. Those athletes, who, on the contrary, need to relieve excessive stress, tend to see themselves resting or doing exercises in calm conditions Abramova A.N. Such different psychology. - M.: Sovremennik, 2002, 28 p.
To understand the essence of ideomotor training, it is necessary to determine the difference between the mental representation of movements and the usual process. figurative representations person. Ideomotor training includes a thorough, purposeful study and repetition of one image during a whole series of performances.
Visual and kinesthetic mental representations of real movements are recommended to be used by gymnasts, acrobats, since it is very important for them to be able to realize and imagine exact position of his body in space at any moment of action. Mental repetition is used to help athletes, by reproducing visual and kinesthetic representations, better master the features of the technique of performing a complex movement.
As you develop your ability to visualize certain situations, after a while you will find that you can easily reproduce them in your memory. Instead of memorizing groups of individual images, and only then creating whole pictures from them in your mind, you, on the contrary, can immediately see the full picture of actions in their development, and, if necessary, isolate individual frames from it.
The following factors contribute to success in ideomotor training: ideomotor training should be carried out only in a state of vigorous activity; mentally, the movements must be reproduced in exact accordance with the rhythm of real actions.
The technical skill of an athlete largely depends on how he knows how to use the laws that govern the presentation process. Patterns:
1. The more accurate the mental image of the movement, the more accurate the movement being performed.
2. An ideomotor representation is only such a representation, in which the mental image of movement is associated with the athlete's muscular-motor sensations.
3. The effect of the impact of mental representations increases markedly when they are clothed in precise verbal formulations.
4. When learning a new movement, it is necessary to imagine its execution in slow motion.
5. When mastering a new movement, you should imagine it in a position that is close to the actual execution of this movement.
6. During the ideomotor representation of the movement, it begins to be carried out so strongly and clearly that the athlete begins to move involuntarily.
7. Before doing the exercise, you should not think about end result.
3. Ideomotor training and setting for action
Direct preparation for the sports movement is mainly psychological orientation. It is mental readiness in a short time of direct preparation for movement that is more subject to changes than functional or technical.
There are two stages in the immediate preparation for the movement. The task of the first stage is to improve the functional capabilities of the athlete and the performance of the body. At this stage, the following means are used: walking, running, jumping. This is the so-called warm-up.
The task of the second stage is to establish the optimal relationship between the structure of the upcoming movement and the activities of the central nervous system.
To draw up individual ideomotor programs, it is necessary to know what thoughts the athlete's mind should be occupied with. For the majority of athletes in mental activity, the central place is occupied by the idea of the upcoming movement and tactical action.
When developing individually effective ideomotor programs, a number of points should be considered:
AT initial phase in the process of performing some basic exercises, the internal “readiness for imagination” should increase and the intensity of the impact of internal and external interference should decrease;
Often distracted athletes, who are easily disturbed, can say the contents of the program on tape and listen to the recording before ideomotor training. Thanks to this, it will be easier for them to concentrate and imagine what they heard;
The number of repetitions in ideomotor training (2-5) depends on the level of preparedness of athletes and training objectives. More complex motor skills are trained with shorter repetitions during one session, the breaks between which should also be shortened;
The information that the athlete receives during training must be formulated clearly and unambiguously, must be accompanied by explanations of how to perform the exercises.
Many works indicate that effective improvement can only be achieved with a combination of ideomotor and physical training. At the same time, the influence of ideomotor training on the formation of skills is most effective when the student is previously familiar with the exercises and actions or has a certain motor experience. At the same time, separate studies (D. Jones, 1963; A. A. Belkin, 1965) show that through only ideomotor training, it is possible to master a new exercise in a deep form (a completely unfamiliar action) without first performing it. But this ability is possessed only by individual highly qualified athletes. A number of studies have found that ideomotor training makes it possible to identify errors or redo an already learned motor skill, and may be accompanied by an effect if the mental performance of an action is not accurate and thorough enough.
4. Principles of ideomotor training
The process of teaching the ideomotor method must be built on the basis of well-known didactic principles: consistency, accessibility, individualization. In addition to these, the following special principles must be taken into account:
1. The principle of motivated interest, which involves instilling in athletes a serious attitude towards the method.
2. The principle of universal efficiency. Ideomotor training is effective in many aspects: teaching technique, setting up for a performance, cultivating a creative attitude to the training process.
3. The principle of dominating efficiency. To the greatest extent, the training effect is manifested in the mastery of the spatial characteristics of the movement, then the temporal ones.
4. The principle of delayed effect. The first lessons on this method do not give results. This is due to the lack of programs for representing movement and connections in the cerebral cortex.
5. The principle of individuality. Variants of ideomotor adjustment depend on the individual psychological differences athlete. Athletes with a strong nervous system usually begin the ideomotor execution of the movement just before the start. With a weak nervous system, this is done much earlier, and it is used more often and much more effectively.
6. The principle of content efficiency. The greatest real training effect of movement representation is achieved with ideomotor reproduction in muscle-motor images of the key moments of the action, its effective essence.
7. The principle of verbalization. Pronunciation or a clear verbal designation of the main points of the action enhances the training effect of the movement presentation.
8. Dosing principle. It is advisable to mentally repeat the task 5 times, and complex tasks once.
5. Tasks and means of ideomotor training
When organizing ideomotor training with athletes, the following tasks are solved:
Task 1- to create a steady interest in ideomotor training among trainees, the desire to fully use it in the training process.
BUT) Means - conversations. Guidelines: explain to those involved that the quality of the exercise performed depends mainly on what image of movement is formed in the mind of a person. The main cause of errors in technique is an incorrect or vague idea of \u200b\u200bmovement. Athletes who are unable to focus their attention on the details of movement technique are not able to listen to their body. Their training is reduced to mindless mechanical repetition of exercises.
B) Means - analysis of training sessions. Methodical instructions: it is necessary to find out how the athlete understands the direction and significance of each lesson and the exercises performed. The athlete must understand that with a mechanical, thoughtless repetition of a movement, mistakes are often fixed in him. Representations are distorted. It is necessary to teach the athlete to listen to himself, to feel his muscles, to control his condition.
C) Means - analysis of a special warm-up. Methodical instructions: it should be clear to the athlete that very often they do it fussy and hasty, there is not always time for trial attempts.
G) Means - comparison established motor representations with an optimal standard of movement. Methodical instructions: to remind that subjective muscular-motor representations only contribute to the successful formation of a skill when they contribute to best option technology.
Task 2- to teach athletes to find the main points in movement.
Means: an explanation with the analysis of cinematographs, graphic sketches, film loops and other visual aids. Show and independent execution actions. Athlete self-report.
Task 3- development of students' skills to evoke muscle-motor representations and sensations.
Means: introspection, self-control. Mental performance of exercises and actions.
So, the brain is the organ where the program of the future movement is formed, and the rest of the body systems, primarily the musculoskeletal system, carry out the planned program. The quality of the final result of our activity depends on how successfully the programming and executing systems function, and on how well they are interconnected.
In order for the mental images of the future movement to be embodied with maximum efficiency, it is necessary to use them correctly. And to use it quite consciously, actively, and not just rely on the processes that nature endowed our body with. Presentation like mental process subject to certain laws.
The first position - the more accurate the mental image of the movement, the more accurate, "cleaner" the movement is performed.
The second position - only such a representation is called ideomotor, in which the mental image of movement is necessarily associated with the muscular-articular feeling of a person.
Mental representations can be "visual". In this case, a person sees himself as if from the outside, as if on a TV screen. It should be well understood that such "visual" representations have a very small training effect. Indeed, in this case, the impulses born in the brain are almost not transmitted to the muscles that must perform the intended movement. Therefore, the work goes as if in vain, there is not enough activity in the corresponding muscles. This can also be verified by experiment with a hanging load. Mentally imagine yourself as if in a "mirror", "look" at yourself from the side and try, looking at that "mirror" load hanging from the side, to imagine that it is swinging - it will turn out much worse.
The mismatch between the programming organ - the brain and the executing apparatus - muscles and joints is especially noticeable when observing a naked body of a person sitting motionless or lying with his eyes closed. In those cases when he thinks ideomotorically, "passes" ideas about movement "through himself", microcontractions and microrelaxations are quite clearly visible in his muscles. If the representations are purely visual in nature, then no micromovements in the muscles occur, although it seems to a person that he "passes" mental representations through his body. Therefore, by observing a person's muscles during ideomotor training, one can easily find out to what extent his mental representations of a particular technical element achieve the goal.
The third position - studies by a number of authors, in particular AD. Puni, Yu. Z. Zakharyants and V. I. Silina, E. N. Surkov and others, proved that the effect of mental representations increases markedly if they are clothed in precise verbal formulations . It is necessary not only to imagine this or that movement, but at the same time pronounce its essence to yourself or in a whisper. In some cases, the words must be pronounced in parallel with the representation of the movement, and in others - immediately before it. How to act in each specific case - practice suggests. The fact that words noticeably enhance the effect of mental representation is easily seen during the experiment with an object hanging on the finger. If you do not just imagine that the load begins to sway, let's say back and forth, but start saying the words "back and forth" aloud, then the amplitude of the oscillations will immediately increase.
The fourth position - starting to learn a new element of technique, it is necessary to imagine its performance in slow motion, as we see it when demonstrating a film shot using the rapid method. Slow thinking of a technical element will allow you to more accurately represent all the subtleties of the movement being studied and eliminate possible errors in time.
Fifth position - when mastering a new technical element, mentally imagine it better in the position that is closest to real situation body at the time this element is executed.
When a person, doing ideomotor, takes a pose close to the real position of the body, there are many more impulses from the muscles and joints to the brain, which correspond to the real movement pattern. And it becomes easier for the brain, which programs the ideal ideomotor idea of movement, to "connect" with the executing apparatus - the musculoskeletal one. In other words, a person has the opportunity to more consciously work out the necessary technical element.
That is why exercise machines are so useful, allowing you to take the most various poses, especially where movements often take place in the air, after taking off from the fulcrum. Having been in a state of a kind of weightlessness, a person begins to better feel the subtle elements of movement technique and better imagine them.
The sixth position - during the ideomotor thinking of the movement, it is sometimes carried out so strongly and clearly that the person begins to move involuntarily. And this is good, as it speaks of establishing a strong connection between the two systems - programming and executing. Therefore, such a process is useful - let the body, as it were, join itself in the execution of the movement that is born in the mind. Such a picture had to be seen most often when exercising with figure skaters. Standing on skates with their eyes closed, they unexpectedly began to move smoothly and slowly following their mental ideomotor representations. As they said, they are "led".
That is why, in cases where ideomotor representations are not realized immediately, with difficulty, it can be recommended to consciously and carefully connect ideomotor representations with the corresponding movements of the body and in this way connect the mental image of the movement with the muscles that perform it.
A few words about the so-called imitations. By imitating, as if in a hint, a real movement or a part of it, a person helps to form a clearer idea of the technical element he needs, going, so to speak, from the periphery, from the muscles, to the center, to the brain. So imitation of the most different movements, which can often be seen during a warm-up, is a good help in preparing for this or that difficult exercise.
But, imitating, you need to consciously connect the performed movements with their mental image. If imitations are carried out formally or thinking about something else, imitation actions will not bring benefits.
Seventh position - it is wrong to think about the final result immediately before the exercise. This is one of the more common mistakes.
When concern for the result occupies a dominant position in the mind, it displaces the most important thing - the idea of how to achieve this result. So it turns out that, for example, the shooter thinks that he needs to get into the top ten, this thought begins to interfere with accurate ideas about those technical elements, without which it is simply impossible to get into the top ten. That's why he doesn't get in. “I overdid it, I really wanted it,” they say in such cases, forgetting that in order to achieve the desired result, one must not think about it, but rely on the mental images of those actions that lead to this result.
BIBLIOGRAPHY
1. Ashmarin B.A. Theory and methodology pedagogical research in physical education(a manual for students, graduate students and teachers of institutes of physical culture). - M.: Physical culture and sport, 1978, 224p.
2. Zabelsky S.Yu. Bioeconomical psychomotor health system. Innovations in the training of specialists in physical culture and sports: Stavropol: Servisshkola, 2005, 24p.
3. Lobzin V.S., Reshetnikov M.M. Autogenic training. M., 152 p.
The term "ideomotor movement" was first proposed by Carpenter in 1874. Later, on the basis of this concept, William James developed a theory about the ability to volitional movement. The term " ideomotor movement "derived from the Greek" ideas” - idea, image - and Latin " motor”- setting in motion.
Relying on literary sources, ideomotor movement can be characterized as involuntary muscle contraction due to the presence of some prevailing thought, that is, ideomotor movement can be the result of either conscious thoughts, or it can be due to thoughts that the individual at that particular moment is not yet aware of and which have connection with the subconscious. In this way, ideomotor act is the appearance nerve impulses, providing some kind of movement in the representation of this movement. But the mental representation of a motor skill is, first of all, the conscious reproduction of each motor component and the formation of an integral image on this basis. But at the same time, in order for this image to be truly ideomotor, and not just a visual representation, a real preliminary reproduction of the movement is necessary, in addition, with repeated repetition of a certain movement, the effect of the ideomotor act increases (Belkin A.A., 1983; Bogin M.M., 1985; Ermakov P.N., 1988).
It should be noted that the ideomotor act does not depend on suggestion and simple imagination of the action, a person must feel the real, for example, contraction of the muscles of the hand when a visual image appears.
FROM voicing mental and physiological processes occurs because the structure of the controlled ideomotor movement synchronously involves the processes of two qualitatively various levels: consciousness and organism. it - interlevel alpha synchronizer(Aliev H., 1981).
Aliev H. claims that and de-motor movement opens a special harmonizing state - "self-regulation mode", in which various other desired psychological attitudes are already realized, various problems are solved.
The automatic implementation of the desired movement clearly indicates the found "contact" between the "consciousness" and the "organism", is an indicator of control, indicating the found state mental relaxation. By learning to control ideomotor movements, a person learns to control his state.
From the point of view of neurophysiology, the training effect of representation is a consequence of fixing certain connections in a functional dynamic system with repeated mental performance of specific actions in the same way as it happens with multiple practical repetition. Thus, the repetition of exercises provides an opportunity to generalize and transfer the educated discrimination skill to other conditions. Consequently, the training effect of representations is associated with the reinforcement of the motor dominant in the nerve centers and with the additional effect of the reverse afferentation that occurs during the actual execution of the movement. The more complex the ideomotor movement, the more greater value acquires past experience in its development. By themselves, the ideomotor movement surpasses many ordinary movements in complexity (Ananiev B.G., 1955; William James, 1962; Annette M. A., 1976).
The conditioned reflex nature of ideomotor movements is confirmed by the results of electroencephalographic (EEG) studies (Kandyba V.M., 1996). According to the theory of Kandyb V.M. the ideomotor act can be represented as a chain of isorhythmic reactions closing in a ring. Central excitation of the motor cortex hemispheres of the brain causes microcontractions of the muscles, while the resulting excitation of proprioreceptors becomes a source of peripheral impulses to the cerebral cortex. Thus, it is possible to distinguishfour main elements of the mechanism of the ideomotor act :
Pre-perception of movement and the associated excitation of kinesthetic cells;
The emergence of an image of a motor representation and an excitation associated with it, similar to that which took place during perception;
Excitation in motor cells, their emergence on the basis of their temporary connections with kinesthetic cells;
Transmission of excitation to the muscle and response working reaction.
It should be noted that specialists in psychocorrection, psychoanalysis, psychotherapy, NLP, as well as specialists in sports, management, martial arts, language learning, creative activities, qualitatively improve results by applying the properties of the phenomenon of ideomotor movement to the individual characteristics of a person. Therefore, mIt can be argued that the ideomotor movement contributes to the learning and adaptation of a person, stress resistance, accelerates rehabilitation and the achievement of various other goals by consolidating conditioned reflexes developing new skills. which also helps in difficult situations maintain clarity of mind and act confidently.
So, for the implementation of the ideomotor act, it is necessary to imitate the motor and affective reactions of a person, comparison, analogy, empathy (Ananiev B.G., 1955; William James, 1962; Annett M.A., 1976; Belkin A.A., 1983; Bogin M.M., 1985; Ermakov P.N., 1988; Kandyba D.V., 1994,Kandyba V.M.,1996).
In addition, in the literature one can find a description of the set various techniques meditative training, some of which are aimed at relaxing or contracting muscles through the performance of some specific movements or their presentation. An image that can cause some kind of contraction or relaxation of muscles is another phenomenon called "ideomotor movement", so it turns out that meditative training is directly related to such a phenomenon as ideomotor movement. But that's a separate issue...
N. Defoy.
P.S. Modified and edited this article was included in the book: Natalia Defoy "The influence of meditation training on the level and channels of empathy"
Literature:
- Annette M.A. Coordination of hand preference and skill replicated // British Journal of psychology, 1976, no. 67.
William James Psychology Briefer Course. Collier books. - N.Y., 1962.
Aliev H. Modern technology self-regulation according to the key system of Hasai Aliyev. - 1981.
Belkin A.A. Ideomotor training in sports. - M., 1983.
Bogin M.M. Movement training. - M .: "Physical culture and sport", 1985.
Ermakov P.N. Psychomotor activity and functional asymmetry of the brain. - R-on-D .: RSU, 1988.
Kandyba V.M. Beyond human capability. - S.-P., 1996.
Kandyba D.V. Hypnosis technique. - S.-P., 1994.
When using an article or part of it, a valid link to
The name of the exercise comes from the Greek word idea - "image" and the Latin motor - "setting in motion." Psychology explains the ideomotor act as the appearance of nerve impulses that provide some kind of movement when this movement is imagined.
This phenomenon was known even to I.P. Pavlov, who in the book “Twenty Years of Objective Study of GNI (Behavior) of Animals” wrote: “It has long been noticed and scientifically proven that, since you think about a certain movement ... you unwittingly, without noticing it, produce it. Since this concept is very important for our subsequent work, we will understand it in more detail.
Exercise. Pendulum experience. In order to see a concrete manifestation of the ideomotor act, we will conduct a small experiment. Make a pendulum out of a string 15-30 cm long and a small object, such as a key, tied to one end of the thread. Draw a circle on a sheet of paper, divided into four sectors by two lines intersecting at right angles, as shown in Fig. 7. If you put your elbow on the table and take the free end of the thread with your thumb and forefinger, then the pendulum will make arbitrary movement in relation to the circle in the direction you are focusing on. So you imagined the movement of the pendulum clockwise, in a circle drawn on paper (position 1). The hanging object actually starts this movement, although you hold the end of the thread perfectly still. Imagine any movement of the pendulum as accurately as possible, concentrate on this representation (for example, positions 2, 3 or 4). No matter how calm your hand is, the pendulum will begin to make the expected movement.
Rice. 7. Experience with a pendulum
For some, this experience is obtained immediately if they stare at the load and concentrate themselves on imagining how this load should move; with others the experiment goes better if they imagine the desired movement of the pendulum with their eyes closed.
This experience serves conclusive evidence the real existence of an ideomotor act - mentally imaginary images cause
the physical reactions of the organism that realize these images. I would like to remind readers that this phenomenon also underlies the autogenic training system that we recommend to increase the effectiveness of training. Ideomotor training methods are widely used by athletes when they mentally imagine complex combinations of movements to be performed and bring them to perfection.
The effectiveness of ideomotor training largely depends on psychological characteristics. According to the ways of orientation in space, people can be divided into two types: visual and motor. Of decisive importance for people of the first type are visual landmarks, and for the second - muscle sensations and a sense of the direction of gravity. People of the visual type, when mentally performing actions, rely mainly on visual representations. They have some advantages in the development of technology fast reading, since the role of imagination, representation is exceptionally great here. People of the second type rely on motor memory and imaginary sensations of movements.
For the successful mastering of the technique of speed reading, the development of imagination, visualization, figurative representations is extremely important. This task is performed by the exercises of ideomotor training.
Exercise 3.1.1. "Labyrinth"
The exercise is performed in pairs. One of the participants, with the help of verbal instructions-commands, "leads" his partner into an imaginary labyrinth, the scheme of which (Fig. 8) he holds in front of him, but does not show to his "follower". There are three commands in total. The first, indicating the entrance to the labyrinth, is "Straight!". Further, depending on the shape of the labyrinth, the commands “To the right!” or “To the left!”, after which the person walking through the imaginary labyrinth must turn to the right or left, respectively. Having passed the labyrinth, the "follower" must turn around 180 ° and mentally exit it, aloud reporting all movements (using the same three commands). All this time, the “starter” according to the scheme controls the path of the partner. If the "follower" coped with the task successfully, he is offered a new labyrinth with a large number of turns, etc. Then the partners change places.
While doing the exercise, try to analyze your actions. This will help you understand the peculiarities of your thinking. If your visual orientation in space predominates, then when doing the exercise it will be easier for you to use the image of an imaginary little man who, obediently following commands, walks through the maze. For those in whom the motor type predominates, this is not enough. In order to determine. where is it “to the left”, and where is it to the “right”, they are forced each time to imagine themselves in the place of the “little man”, mentally climb inside the labyrinth and make imaginary turns there. Imagining various movements, people with a motor type of orientation do not so much see these movements as feel them with their body, feel themselves performing them. A student with this feature can productively use ideomotor training to master a new reading technique and improve it. For example, this gives a real result already when working out the first rule of quick reading: “read without regressions”. One of our students wrote: “I only move forward in the text. I control the movement of the eyes, as in a maze, I remember: "no return movements." The feeling of constantly moving forward through the text is satisfying.” For a student with a visual type, ideomotor training can help mainly in memorizing complex mental actions related, for example, to presenting and filling in blocks of an integral reading algorithm and many other quick reading techniques. As already noted, the "visual type" is easier to master the technique of speed reading. Therefore, we recommend that students of the “motor type” develop their imagination in every possible way in the process of ideomotor training. We offer another simple exercise to develop this quality.
Rice. 8. Exercise "Labyrinth"
Exercise 3.1.2. "Leapfrog"
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The exercise is also performed in pairs. A linear five-cell field is used (Fig. 9) and four chips, for example, checkers - two black and two white. Cells are numbered. The chips stand as shown in the picture. The goal of the game is to move the black pieces to those cells that are occupied by white, and the white pieces, respectively, to the place of the black ones. The following types of moves are allowed in the game: moving a chip to the left or right to an adjacent free cell; jumping a chip to the left or right through a cell occupied by another chip to the next free one. Game progress: at first, you make moves in turn on the drawn field with real chips, for example, checkers. After learning the rules of the game, work on the imaginary field that you see on your mind's eye screen. At the same time, you designate each of your moves with two numbers: the number of the cell from which the chip moves, and the number of the cell to which it moves (for example, from 3rd to 5th). In the event that the game is too easy for you, you can increase the length of the field and, accordingly, the number of chips.
Rice. 9. Exercise "Leapfrog"
Exercise 3.1.3. visual image integral algorithm reading
You have studied the seven blocks of the integral reading algorithm, present their meaning and content. Ideomotor training developed your imagination. To create a visual image of the algorithm, use any object, picture, situation. It is very important to draw it with your own hand. This should be your drawing. You need to make 2 copies. Attach one of them to the screen of your mind's eye, and carry the other with you all the time or place it in front of your desk. Constantly think, imagine your drawing. Make sure that when you close your eyes, you clearly see your algorithm. On fig. 10 shows an example of an algorithm that is most often used by schoolchildren in our classes. If you like it, draw the same one.
Rice. 10. The visual image of the integral reading algorithm is nothing more than a continuation of your ideomotor training. Fix, fix your drawing of the algorithm on the screen of the mind's eye
What drawing to choose? Let's see how speed reading course participants do it in practice. Here is what one of them wrote in his diary: “The visual image of the algorithm is a regular hexagon. This is my football field. First, the first three blocks are filled, as it were, with “ball” strikes in the corners: title, author, source. Then, as you read, three more blocks - three corners. The last block - novelty - is fixed by me as a dot in the center ... After a week of training, I felt that the blocks were filled with content as if by themselves - bright, catchy, strong and dynamic.
The visual image of the algorithm is embodied in different ways: in the pyramid, and in the floors of the building, and in the file cabinet, and in the seven multi-colored stripes of the rainbow, etc.
P. It must be said that visual image how a mnemonic device works actively only at first, then it seems to be erased, fades, but the reading skill remains, based on the selection of only its informative part from the text. What if the visual image does not work? Here is an example of a successful solution to this problem, taken from the diary of one of the participants in speed reading courses: “The visual representation of the algorithm did not work out. Of course, I can present it in the form of a diagram or in the form of boxes, but in the process of reading I do not use this visual representation: my memorization goes completely differently:
1. Name. Since the title most often reflects the essence of an article or book, I read it especially carefully. If it doesn’t mean anything at first glance, then I try to make some comparisons, I try to visually remember the number of words in the title, their location, present the title in the form of an electronic scoreboard with burning letters (but this is done with difficulty).
3. Imprint. I remember the name of the newspaper, year, date, month, sliding along the line, fixing only for a moment. I remember the numbers by attempting a vivid visual representation at the moment of fixation.
So I fill in the first three blocks of the algorithm, but I don’t know where I send it all. Sometimes, after reading the introduction, I try to check the filling of these three blocks, I try to predict the further content, which I should especially pay attention to later.
4. Problem. Briefly formulate at the very beginning of reading. Sometimes I clarify after I finish reading the entire article or book.
5. Factual data. Unlike output data, I try to remember by linking it with the meaning of the text, and not visually.
6. Features of presentation, criticism. These elements are often fixed intuitively. Something catches your eye: like it or not; style, presentation. It also happens that all this slows down reading, tires or, conversely, captures, and here sometimes there is an amazing reading speed, everything is remembered quickly and well.
7. Novelty and practical use. This is already sometimes evident by the title, by the author of the text, or after reading the introduction.
In general, I think "workflow" works well here, but I do not have a visual representation of the blocks of the algorithm.
Exercise 3.2. Second Rule of Quick Reading: "Read Integral Algorithm"
You studied the algorithm, drew and memorized its visual image. What does the integral reading algorithm give? The main thing is that he forms a new reading program, a program for a sequence of mental operations. To find in the text the answers to all the questions posed in the blocks of the algorithm from the first to the seventh - this is the task of reading. Repeated trainings lead to the fact that at the end of reading the necessary data, facts, names, surnames, as it were, clearly pop up before their eyes.
At the same time there is a struggle with regressions. Reading the text with the reproduction of the content according to the algorithm inspires confidence that an active one-time reading is enough to fully assimilate what has been read. Your recurrent eye movements become less and less, and, finally, they almost disappear. During this period, you need to study and remember the second rule of fast reading - read any text according to the algorithm.
How is the reading attitude developed using the algorithm? Before you start reading, you need to visualize the blocks of the algorithm. First of all, they remember: the title, the author, the output of the source. Then, as you read, you get an idea of what problem the article is devoted to; the main content, the topic will be included in the fourth block. Already in the first paragraphs there can be various facts, surnames, parametric data. All this information is recorded in the fifth block of the algorithm.
In the process of reading the text, the reader, as it were, filters its content, selecting and putting into blocks of the algorithm only what corresponds to their names. For example, the text describes the design of a new electric car, which has fundamental distinctive features. This is the material for filling the sixth block. It is very important to be critical of the content of the text. According to some psychologists, one should not read at all without a critical attitude. Your position - agreement or disagreement with the author - is also recorded in this block of the algorithm. Finally, you have finished reading. What new things did you learn from what you read that you can practically apply in your work? This is the data for filling in the last, seventh block of the algorithm.
So, is the reading over? For ordinary, traditional reading, maybe so. This is not enough for a quick read. The end of the reading is yet to come. The reader must again present the visual image of the integral algorithm and check the sufficiency of filling all of its blocks. Such a final psychological act of analysis and synthesis of the text helps to better understand and remember it. Psychologists say: "Know how to put an end."
Obviously, it is this technique that explains the fact that fast readers better, more fully absorb and remember what they read than those who read slowly and, most importantly, ineptly. As experience shows, the visual representation of the blocks of the integral reading algorithm greatly facilitates the solution of this problem.
How to train? The exercises below are performed regularly for two to three weeks.
Exercise 3.2.1. Mastering the integral reading algorithm
1. Every day, slowly read one or two articles in the newspaper that are interesting to you (for example, Pionerskaya Pravda or Komsomolskaya Pravda), holding a piece of paper with a drawn algorithm in front of you. In the process of reading, “pack” information into blocks. At the end of reading, close your eyes and mentally check the filling of all cells-blocks of the algorithm.
2. Read one or two such articles daily as quickly as possible, no longer looking at the drawing of the algorithm, but imagining it in your mind. State the content of the articles in accordance with the algorithm.
At the end of the training cycle, read control text No. 3 and determine the reading speed using the formula you know. Control text No. 3 Volume 2400 characters
EDUCATION OF COMMITMENT
The discussions now unfolding in our country on how to improve the system of public education prompt me to talk about some, in my opinion, instructive features of the Japanese school.
In ancient times, Russian priests noticed that the human psyche works better in special, altered states of consciousness, which manifest themselves primarily by the automaticity of the actions performed, the weightlessness of the body, the indefatigability and rationality of movements. And since the Russians
were a military caste and priestly class in most countries of the Ancient World, then the secrets discovered by the priests, as in modern times, first of all came to the military.
The training of a professional warrior lasted for many years and its goal was the daily training of all the basic military techniques of attack and defense to such an extent that the practical skill became automatic, i.e. performed instantly, adequately and unconsciously. Samples of such art have survived to our time, when a Cossack in an instant could cut down a tree with a saber at full gallop and it continued to stand without moving, and the swing of the saber was so lightning fast that the eye of the observer simply did not see it. Neither before nor after did the Cossack feel his body or horse, his consciousness was inspired and unusually clear.
So, the ancient Russian priests decided to use trance states to speed up military training and improve the fighting qualities of Russian soldiers. And, indeed, the use of trance sharply reduced the terms of combat training and dramatically increased the military qualities of Russian soldiers - they could fight for several days, defend themselves and pursue the enemy, never got tired and always won, and to a large extent
outnumbered and practically without loss, since no one could defeat the war-Rus. This state - the "Russian spirit", was able to educate all soldiers, up to Christianization under the Great Kagan Vladimir, in 988.
Over time, the "trance movement" spread to all other aspects of life - ritual dances, drawing, poetry, literature, sculpture, theater, sports, dowsing, etc.
The discovery of Russian priests quickly spread throughout the ancient world and eventually developed in the martial art and culture of most peoples of the world.
The psychotechnique of entering a trance consisted in achieving weightlessness through the "emergence of hands", and then the transition to desired activity- writing, drawing, eating, fighting, sex, oratory, etc.
The greatest contribution to ideomotor psychotechnics was made by the abbot of the Shaolin monastery, Bodhidharma, who called it "ch'an". It was in China, Japan and other easternmost countries, where Christian ideologists had not yet been able to reach, that the ancient Russian art of the trance movement was partially preserved in the form of various martial, mystical, health and religious systems.
Other peoples have ideomotor psychotechnics, i.e. the technique of entering a trance through automatic movements has been preserved in the form of various simple rhythmic and monotonous movements, accompanied by special rhythmic music or singing.
An example of the applied use of ideomotor psychotechnology was the ancient dowsing, when, in order to search for water or ore, they took a split vine in their hands, then they tried to make their hands emerge with the vine put forward, then, feeling general weightlessness and a special euphoria of trance and expected good luck, they began to look for water or ore hidden in the ground, expecting that over the place where they are hidden, the hole will ideomotorally tremble down.
In the Middle Ages, ancient ideomotor psychotechniques of divination and divination spread throughout the world through ideomotor (automatic) writing and ideomotor (automatic) speech. Then Christian ideomotor psychotechniques of entering a trance by "surfacing hands" appeared in the Athos monastery. Then ideomotor psychotechniques appeared in the systems of mystics (Blavatsky, Gurdjieff, Uspensky, etc.), scientists (Bekhterev, Platonov, Kandyba, etc.), as well as among spiritualists (involuntary tapping, pressure, twitching, etc.), psychics ( pendulums, frames, etc.) and psychiatrists (Aliev, Erickson, etc.).
Fans of spiritualism believed that there is life after death, and at a spiritualistic seance one can "hear the voices" of dead people, see their "spirit", etc. In order to establish connections with the "spirits" of the dead, they resorted to the help of special tools, for example, an Ouija board with the alphabet printed and the words "yes" or "no" (as in dowsing). The medium asked a question, then put his hand on a pointer or a glass cup turned upside down, and due to the ideomotor (automatic, unconscious) movements of the medium, the medium “independently” moved from letter to letter, adding up the words of the “answer” (mediums believed that their hand was leading "spirit" of the deceased).
In the version of ideomotor (automatic, unconscious) writing, the medium held a pen or pencil over a sheet of paper in relaxed fingers and then, entering a trance, began to write or draw something, believing that the “spirit” of the deceased was doing this with his hand. There are cases when a medium wrote down several texts at the same time, with two hands and in different languages! Sometimes (for example, in France) a "tablet" was used for ideomotor writing - a plate on rollers with a hole for a pencil.
Some mediums who mastered the psychotechnics of ideomotor speech claimed that the spirit of God or some person had entered into them and spoke through them, often with a slightly or greatly changed voice and manner of pronouncing. And sometimes the ideomotor speech of a medium or a soothsayer (Wang, etc.) is difficult to understand and looks like a painful delirium that needs a special "decoding".
The phenomena of ideomotor art are interesting: ideomotor painting, when the medium believed that some particular artist was his hand, and ideomotor music or composition, when the medium believed that the "spirit" of some famous musician or composer had entered into him and played or composed and writes music. The same is true with ideomotor sculpting of sculptures, etc.
Currently, ideomotor psychotechniques are used in psychotherapy, psychoanalysis, self-regulation and in SC science: SC creativity, SC sports, SC autotraining, SC medicine, SC pedagogy, etc.
Cases are described in the literature when people with high sensitivity accurately detected The groundwater, ore veins with the help of a water-detecting (ore-detecting) twig. As early as the end of the 11th century. Lebrun believed that the reason for the movement of a water-seeking twig is the will of a person, and the direction is determined by his desires. Later, M. Chevrel (In 1853) also pointed out that the expectation of a certain fluctuation from the twig is main reason this fluctuation. Kircher then determined that the twig does not lean towards water or metal unless it is in the hands of a person. According to M. Chevrel, A. Lehmann, N.A. Kashkarov, experienced seekers can recognize the location of a source or ore vein by the characteristics of soil and vegetation, and the thought that has arisen is manifested in the movement of a twig.
In the last century, a kind of "psychic epidemic" - table-turning - began to spread rapidly in America. Its essence was as follows: the participants in the session sat around the table, putting their hands on it, and intently awaited "messages from the other world." Thought impulses, imperceptible
eye, transmitted various movements, crackles to the table, which was perceived as the answers of "spirits". "Table-turning" has become a fashion that has captivated hundreds, thousands and hundreds of thousands of people. However, it was at this time that sober-minded scientists began to investigate the nature of all "mysterious" phenomena in which a connection between thought and movement was found. Then the term "ideomotor act" (V. Carpenter) was introduced, which was used in empirical psychology to denote motor reactions that automatically arise after the idea of movement.
The first studies and theoretical substantiation of ideomotor reactions were made by prominent scientists: M. Faraday, M. Chevrel, J. Brad, D. Mendeleev, V. Carpenter and others.
AT simple experience holding a cord in his hand, to the end of which a load is suspended, M.Chevrel discovered that with intense "thinking" about the movement of the pendulum clockwise, the load begins to move in this direction, describing a circle. The subject makes barely noticeable movements with his hand, without noticing them himself. M. Faraday in experiments with the help of physical registration proved that the hands of the participants in spiritualistic seances inform the table of a series of unconscious ideomotor impulses. This was also confirmed by J. Brad, who noted that the table starts to move only when the participants in the session are waiting for it: if their attention is distracted, then there is no movement. D.I. Mendeleev on the manometric table accurately registered each, even the weakest pressure on him, and thereby proved the existence of an ideomotor act. The American doctor G.Bird published a small brochure "About psychological foundations Reading thoughts". Then W. Carpenter in England and W. Preyer in Germany, independently of each other and not knowing about G. Byrd's brochure, gave identical explanations for this phenomenon.
Exploring the relationship between facial expression and the activity of facial muscles, P.F. Lesgaft also described ideomotor reactions. In the 90s of the last century, the commission of the Russian Society of Experimental Psychology came to the conclusion that the so-called mind reading is nothing but
as "muscle reading", i.e. deciphering minimal muscle movements. Later, A. Lehmann, using a kymograph, recorded the curves of the ideomotor act, and I.M. Sechenov, observing himself, established the connection between internal and external speech and the presence of ideomotor speech movements.
AT scientific papers I.M. Sechenov (1863), L. Levenfeld (1903), I.R. Tarkhanov (1904), V.M. Bekhterev (1925), I.P. and self-hypnosis affect the vascular-motor system, various bodily and many vegetative processes and cause hallucinations, hysteroid convulsions, often fatal. So, with the imagination of frost even in the warmth
"goosebumps" appeared, at the memory of the disgusting - nausea and grimaces, at the thought of the terrible - trembling in the body, stigmas, seizures. A case is described when a girl who fell into religious ecstasy developed bleeding ulcers on her arms and legs exactly in those places that corresponded to the wounds of the crucified Christ.
M.F. Andreeva recalled that when Gorky described the scene of the murder of a woman in the story "The Town of Okurov", he vividly imagined her pain, sensations, wound to such an extent that he fainted, and he formed a stigma at the site of the alleged wound which lasted for several days.
Gradual turning of the eyeball at the thought of an object that is out of sight; response sound kinetics of the body, the listener to the words of the speaker or singer; involuntary, barely noticeable movement of the fingers of pianists, reproducing the melody in the mind; sweating, increased heart rate when experiencing observed or imagined stressful situations; an obsessive thought about failure before a performance by an artist, an athlete and its realization in erroneous actions; micromovements of the body and face of a person seeking to hide his desires, actions - all these phenomena are caused by ideomotor acts (reactions), involuntary movements that automatically arise after the idea of them.
Studies of ideomotor acts have given rise to the most
various theories. Thus, according to James's voluntaristic theory, the thought of movement causes it directly, mechanically. This theory defends the thesis about the transmateriality of mental processes that make up a dynamic whole, in which there is a cycle of thoughts and movements that form an ideomotor act. The ideomotor act turns out to be completely divorced from the materialistic foundations of the psyche and acts as an external expression of the non-material soul, opposed to material world. In contrast to this position, I.R. Tarkhanov interpreted the ideomotor act in the spirit of natural-scientific materialism. He was looking for the neurodynamic basis of the process, which he saw in the "aggravation", "strengthening" of motor traces that remain in the central nervous system of a person in a latent state of tension and manifest themselves in the form of real muscle movements. Attempts to interpret ideomotor reactions from idealistic and mechanistic positions were subjected to well-deserved criticism from K. Kornilov, S. Rubenstein and other Russian psychologists.
I.K.Spirtov in 1914 using the Lehmann apparatus, the principle of which is based on increasing the amplitude of movement by means of special system levers, recorded the slightest hand movements that occur during motor representations. The researcher was faced with the task of verifying the existence of an ideomotor act and identifying the conditions conducive to its greater manifestation.
In particular, a number of experiments involved a man whose arm was amputated above the elbow joint. The researcher suggested that he "make movements" with a non-existent part of the arm and studied the bioelectric potentials of the muscles of the stump and a healthy arm. The potentials had the same value. It was found that for the emergence of an ideomotor reaction, it is not enough just to focus on the representation of movement. It is necessary to have an interest caused either by a target setting for an imaginary action, or by its special emotional coloring.
In 1924, R. Allers and F. Sheminsky also showed that during the psychomotor representation of the clenching of the fist, the same action currents arise in the muscles as during the actual contraction of the muscles of the hand squeezing it into a fist.
In the 1930s, E. Jacobson, with experiments using electrocardiographic recording of excitation impulses, described galvanographic changes in muscles that occur during imaginary actions. The galvanometric picture of muscle potentials turned out to be almost completely identical with
imaginary and real action (in the first case, only a lower voltage is detected). This issue was studied in particular detail by E. Jacobson in connection with the problem of exercising the muscular sense. The necessity of motor representations for the appearance of an ideomotor act was proved. At the same time, it was noted that impulses are sent to the muscles along the pyramidal nerve pathways by those cortical neurons, with the activity of which the experienced motor representation is associated.
Investigating the neuromuscular reactions to imaginary work in subjects well trained in muscle relaxation, E. Jacobson noted that the idea causes a real, albeit weak, contraction of the working muscles. Muscle tension is felt, but movement is not noticed. Micromovements of the hand correspond to the nature of the presented action: when presenting a single throw of the ball on the mecha-
On the chart, a single muscle contraction is noted; when rhythmic movements are presented, rhythmic muscle contractions are recorded. During the "work" of one hand, the muscles of the other remain passive.
Ideomotor acts perfectly illustrate the idea of I.M. Sechenov that a thought is a reflex, more or less inhibited in its last, motor part, a reflex with a weakened end, and the arc of such a reflex passes through the neurons of the "organ of the psyche" - the cerebral cortex . I.M. Sechenov showed that stimulation of afferent cells certainly causes corresponding movements.
Numerous studies of domestic and foreign physiologists and clinicians show that during the period of direct preparation for the upcoming activity, under the influence of only motor representations, the functional state of many body systems that participate in the actual implementation of the motor act changes. So, when you imagine the action, blood circulation increases (IR Tarkhanov, 1904, E. Weber, 1810). If hypnotized at light work suggest that it is heavy, then fatigue and shifts in the cardiovascular, respiratory and other systems develop according to suggested, and not real work (D.N. Shatenshtein, 1936). "Imaginary drinking" affects not only the functioning of the central and reflex apparatus that regulate the phenomenon of "thirst", but also all the distribution of water in the body (K.M.Bykov, AD.Slonim, 1958). It was found that a two-minute imaginary work changed the motor chronaxy of the subjects (i.e., excitability and lability of the peripheral nervous system upwards (V.V. Efimov, A.D. Zhuchkova, 1937). Comparison of frequency and amplitude ratios in those obtained simultaneously with muscle work in electroencephalograms and electromyograms shows a change in brain potentials in connection with the mere idea of work and in a state of readiness for it (P.I. Shpilberg, 1941).
In 1944, L.L. Vasiliev and E.Yu. Belitsky once again experimentally confirmed the presence of an ideomotor act and identified the types of ideomotor reactions. Registration of torso swaying on the pneumatic platform showed that the types of ideomotor reactions generally correspond to the types of suggestibility. Four years later, A.V. Penskaya, studying the recording of tremor in blind and sighted people, came to the conclusion that all healthy subjects, both sighted and blind, to a greater or lesser extent lesser degree capable of ideomotor reactions. This was confirmed by further studies of bioelectric phenomena in the motor zone of the cerebral cortex and in muscles during an ideomotor act (Yu.S. Yusevich, 1949; M.S. Bychkov,
1953; A.N. Sokolov, 1957; A.I. Roitbakh, Ts.M.Dedabrishvili, I.K-Gotseridze, 1960; A.Ts.Tsuni, Yu.Z.Zakharyants, E.N.Surkov, 1961).
Studies have shown that the currents of ideomotor excitation of muscles, both in quantitative characteristics and in the shape of the curve, are similar to the action currents during real movements. So, on the electroencephalograms (EEG) of the motor zone obtained during an ideomotor act, a lot of very slow waves of large amplitude appear, giving the EEG the appearance of a curve typical of muscle ideomotor and real currents. This indicates that the excitation during an imaginary action is to a certain extent similar to the excitation during a real action. The similarity of muscle and brain rhythms indicates their probable constant interaction in the process of ideomotor, which, as it were, includes both the brain and muscles into a single working system.
A theoretical explanation of the physiological mechanisms of ideomotor reactions was given by I.P. Pavlov. He wrote: "It has long been noticed and scientifically proven that once you think about a certain movement (i.e., you have kinesthetic ideas), you involuntarily, without noticing it, are produced."
Kinesteric cells of the cerebral hemispheres, excited by movement from the periphery, can be irritated centrally and send impulses through the corresponding cell to the peripheral organ. When irritated by a weak electric current, strictly defined skeletal movements occur in certain points on the surface of the motor area of the cerebral cortex. Therefore, "a kinesthetic cell, irritated by certain passive movements, produces the same movement when irritated not from the periphery, but centrally."
IP Pavlov noted that kinesthetic cells can communicate with any other cells (auditory, gustatory, etc.) and the process between them can "move back and forth." Due to this connection of the kinesthetic cells of the motor analyzer with the cells of many other analyzers visual perception objects and the perception of speech cause the revival of traces of a whole system of temporary connections in the area of the motor analyzer, corresponding to the system of previously performed movements. As a result, according to the mechanism of central excitation of the kinesthetic cells of the cortex, the idea of these movements arises.
The resulting excitation of kinesthetic cells spreads to the cells of the motor, speech-motor and other analyzers. From here, impulses are transmitted to the "working organs" - muscles, internal organs and cause corresponding external reactions.
Thus, the basis of the ideomotor act is motor representations. At the same time, not only unconsciously arisen, but also consciously evoked representations pass into minimal movements. This repeated conscious excitation of certain kinesthetic cells, both during the performance of real work and during its mental reproduction, reinforces and enhances intercentral relationships, which contributes to a more rapid formation of a motor stereotype.
In the light of I.P. Pavlov's teachings on the first and second signal systems, the mechanisms and features of trace phenomena in the motor analyzer are found, acting, in particular, in the form of an ideomotor act.
Based on the teachings of A.A. Ukhtomsky about the dominant, the excitation of kinesthetic cells in the cortex associated with motor representations can be characterized as a dominant focus, which is amplified and reinforced by additional muscle impulses as a result of those minimal muscle contractions that occur during an ideomotor act.
The conditioned reflex nature of ideomotor reactions is confirmed by the results of a number of electroencephalographic (EEG) studies. In this case, the ideomotor act can be represented as a chain of isorhythmic reactions closing in a ring. Central excitation of the motor cortex
large hemispheres of the brain causes microcontractions of the muscles, while the resulting excitation of proprioreceptors becomes a source of peripheral impulses to the cerebral cortex. Thus, four main elements of the mechanism of the ideomotor act can be distinguished:
1) preliminary perception of movement and the associated excitation of kinesthetic cells;
2) the appearance of an image of a motor representation and the excitation associated with it, similar to that which took place during perception;
3) excitation in motor cells, arising on the basis of their temporary connections with kinesthetic cells;
4) transmission of excitation to the muscle and response working reaction.
From the point of view of neurophysiology, the training effect of representation is a consequence of fixing certain connections in a functional dynamic system during repeated mental performance of specific actions in the same way as it happens with their repeated practical repetition.
Consequently, the training effect of representations is associated with the reinforcement of the motor dominant in the nerve centers and with the additional effect of the reverse afferentation that occurs during the actual execution of the movement.
All this shows how strongly motor representations influence the change in the functional state of many body systems and the bodily manifestations of a person. At the same time, the results obtained after the submissions are similar to the results obtained after real perception items,
things, phenomena, feelings, movements and actions. All this points to the enormous possibilities of using ideomotorics in various fields human activity.
The problem of ideomotorism occupies a significant place in pedagogical research related to various types of human activity: SC therapy, art, aviation; sports and others.
G. Ruben-Rabson (1941) came to the conclusion that ideomotor training improves the memorization of piano playing technique. The remarkable Russian pianist I. Hoffman wrote that, just as the action of a finger is determined primarily in the mind, so each passage must be completely prepared mentally before it is tried on the piano.
Cases are described when musicians, deprived of an instrument for one reason or another, mastered the program ideomotorically, on the basis of internal hearing, and subsequently performed with high technical skill. The well-known pianist I.I. Mikhnovsky believes that not particularly difficult things can be prepared for performance without an instrument, provided that they do not contain any unmastered technical techniques, and a thing prepared in this way is remembered in all details more firmly, due to the fact that "mechanical mastery of any details only with the help of fingers" is excluded.
The system of education of an actor created by K.S. Stanislavsky is largely based on ideomotor. The imaginary image and the experience associated with it act as a stimulus for stage reincarnation. Study mental foundations The actor's stage reincarnation shows that a fixed attitude to an imaginary situation is being developed and an attitude towards it is created that would take place if this situation were real. S. Gippius (1967) gives examples acting training, which improves the plasticity of the nervous system and allows you to consciously reproduce the work of the mechanisms of vital action - the mechanism of perception and reaction of switching mechanisms.
Describing the essence of his psychological experiments, V. Messing (1961) noted that he is guided by ideomotor signals, which the conductor involuntarily gives him, thinking intensely about the upcoming mysterious movements. Ideomotor acts of a person were widely used in their performances by hypnotists and artists: Brodie, Feltsman, Cooney, Dadashev, Ignatenko and others.
As noted above, a vivid representation of any movement, the concentration of attention on it cause the involuntary implementation of this movement. In production, ideomotor acts are often the cause of many erroneous actions and even accidents. K.K. Platonov (1962) cites interesting examples when a driver's student has the thought: "Now I'll run into a pole" - sometimes it is realized in erroneous movements instead of corrective ones. There is reason to believe that some cases of collision of aircraft in the air, as well as arbitrary premature pulling out of the ring during parachute jumps, are caused by a similar manifestation of ideomotor. At the same time, numerous experiments indicate a significant influence of kinesthetic ideas and sensations on the correct regulation of working movements.
A number of studies show the possibility of using ideomotor reactions to create bioelectric control systems. So, for the purposes of control, the biocurrents of skeletal muscles, as well as the cardiac muscle and muscles that control respiratory movements, were used.
In 1956, a prosthesis of a metal human hand was designed, controlled by the biocurrents of the muscles that flex and extend the fingers.
The Polytechnical Museum has a model of an electric train that anyone can "mentally" control: an ingenious mechanism and a person's hand are connected by a thin wire through which biocurrents are transmitted.
The founder of cybernetics, Norbert Wiener, wrote about the possibility of a completely new, direct contact between a person and a machine, about creating systems in which unprecedented mechanical structures would obey the brain, like the muscles of a living hand.
In aviation great importance is given to the development of "flying feeling". The researchers point out the importance of pilots' preliminary "drawing of the flight" and note that imaginary flights contribute to the automation of the sequence of actions and the procedure for developing flight skills among cadets.
The method of deliberate presentation is used both in the initial formation and improvement, and in the restoration of flight skills after a break in flight.
There are reports in the literature about training with imaginary movements in medical practice.
So, N.A. Popova (1955), describing the method of restoring motor functions in patients with central paralysis of vascular origin in patients, reports the great effectiveness of this method. And the method of using ideomotor movements developed by Z.M. Ataev (1973) helps to restore the functions of the injured limb even in cases where the reproduction of movements is difficult or impossible, for example, with plaster immobilization. Important role ideomotor plays in sports activities. Back in 1899, the American scientist D. Anderson tried to find out whether it was possible to prepare the muscles for performing gymnastic exercises, if the movements were only imagined, but practically not performed. Numerous experiments have given positive results.
In subsequent years, this position was experimentally tested and confirmed by a large number of studies on psychomotor in different countries. It has been convincingly proven that ideomotor training helps to increase attention to the activity and its awareness, as a result of which the quality of the exercises improves, the accuracy of movements increases, the learning process accelerates and it becomes possible to initially master an unfamiliar action without its practical implementation.
First experimental work on ideomotor practice in the training process of athletes were carried out in the USSR. A.Ts.Puni, starting from 1940, for many years conducted research on athletes of various specialties. He noted that the performance of sports exercises both in the process of training and at competitions is much more effective when practical implementation exercises are preceded by "mental" execution. According to his research, as a result of training by imagining movement, the tested athletes increased: speed
movement by 34%, accuracy ranging from 6.4 to 16.8% and muscle strength of the hand by 34%. In 1967, A.Ts.Puni put forward a position on the polyfunctional nature of the representation of movement.
In 1943, R. Wendel, R. Davis and G. Clagston revealed the effect of ideomotor training in archery, throwing a spear at a target and determined that this training brings the same effect as practical training. Later, A.Ts.Puni (1948) observed an increase in the distinctness of motor-muscular sensations and ideas in fencers and skiers.
L-Halverson (1949), after conducting research on basketball players who studied throwing a ball into a basket with one hand, concluded that approximately 500-time ideomotor reproduction of this action increased the result by 13.4%. W. Twinning in 1947 conducted similar studies on athletes throwing a ring at a target. In the control group, where special training was not carried out, there was no improvement in the result. In the same study, the group of subjects who used only ideomotor training increased their results by 36%, and the group that trained practically - by 37%. In 1952, V. Sgidle in baseball received an improvement in the results in groups, respectively, by 7.6; 9;
15.3%. According to E. Trussell (1953), the combination of one week of ideomotor training with two weeks of physical training while juggling a tennis ball gave the same result as physical training for three weeks. R.S. Abelskaya (1955) - after mentally replaying actions in the process of solving tactical problems - and R. Wilson (1960) - received similar results from tennis players when learning to strike from the left and right.
Many works indicate that effective improvement can only be achieved with a combination of ideomotor and physical training. At the same time, the influence of ideomotor training on the formation of skills is most effective when the student is previously familiar with the exercises and actions or has a certain motor experience. At the same time, separate studies (D. Jones, 1963;
A.A. Belkin, 1965) show that only through ideomotor training one can master a new exercise (a completely unfamiliar action) in a deep form without first performing it. But this ability is possessed only by individual highly qualified athletes. A number of studies have found that ideomotor training makes it possible to identify errors or redo an already learned motor skill, and may be accompanied by an effect if the mental performance of an action is not accurate and thorough enough.
The ideomotor method, with proper organization in each sport, can significantly increase "muscular endurance" (I. Kelsey, 1961), sports performance (G. Tivald, 1973) and contribute to the preservation of technology complex exercises after a break in training (V.Ya. Dymersky, 1965; A.A. Belkin, 1969).
Ideomotor is effective in psychoregulation emotional states athletes before competitions (A.V. Alekseev, 1968).
So, the brain is the organ where the program of the future movement is formed, and the rest of the body systems, primarily the musculoskeletal system, carry out the planned program. The quality of the final result of our activity depends on how successfully the programming and executing systems function, and on how well they are interconnected.
In order for the mental images of the future movement to be embodied with maximum efficiency, it is necessary to use them correctly. And to use it quite consciously, actively, and not just rely on the processes that nature endowed our body with. Representation, as a mental process, obeys certain laws.
First position- the more accurate the mental image of the movement, the more accurate, "cleaner" the movement performed.
Second position- only such a representation is called ideomotor, in which the mental image of movement is necessarily associated with the muscular-articular feeling of a person.
Mental representations can be "visual". In this case, a person sees himself as if from the outside, as if on a TV screen. It should be well understood that such "visual" representations have a very small training effect. Indeed, in this case, the impulses born in the brain are almost not transmitted to the muscles that must perform the intended movement. Therefore, the work goes as if in vain, there is not enough activity in the corresponding muscles. This can also be verified by experiment with a hanging load. Mentally imagine yourself as if in a "mirror", "look" at yourself from the side and try, looking at that "mirror" load hanging from the side, to imagine that it is swinging - it will turn out much worse.
The mismatch between the programming organ - the brain and the executing apparatus - muscles and joints is especially noticeable when observing a naked body of a person sitting motionless or lying with his eyes closed. In those cases when he thinks ideomotorically, "passes" ideas about movement "through himself", microcontractions and microrelaxations are quite clearly visible in his muscles. If the representations are purely visual in nature, then no micromovements in the muscles occur, although it seems to a person that he "passes" mental representations through his body. Therefore, by observing a person's muscles during ideomotor training, one can easily find out to what extent his mental representations of a particular technical element achieve the goal.
Third position- studies by a number of authors, in particular A. Puni, Yu. Z. Zakharyants and V. I. Silina, E. N. Surkov and others, proved that the effect of mental representations significantly increases if they are clothed in precise verbal formulations. It is necessary not only to imagine this or that movement, but at the same time pronounce its essence to yourself or in a whisper. In some cases, the words must be pronounced in parallel with the representation of the movement, and in others - immediately before it. What to do
in each case, practice suggests. The fact that words noticeably enhance the effect of mental representation is easily seen during the experiment with an object hanging on the finger. If you do not just imagine that the load begins to sway, let's say back and forth, but start saying the words "back and forth" aloud, then the amplitude of the oscillations will immediately increase.
Fourth position- starting to learn a new element of technique, it is necessary to imagine its performance in slow motion, as we see it when demonstrating a film shot using the rapid method. Slow thinking of a technical element will allow you to more accurately represent all the subtleties of the movement being studied and eliminate possible errors in time.
Fifth provision- when mastering a new technical element, it is better to mentally imagine it in the position that is closest to the actual position of the body at the moment of performing this element.
When a person, doing ideomotor, takes a pose close to the real position of the body, there are many more impulses from the muscles and joints to the brain, which correspond to the real movement pattern. And it becomes easier for the brain, which programs the ideal ideomotor idea of movement, to "connect" with the executing apparatus - the musculoskeletal one. In other words, at
a person has the opportunity to more consciously work out the necessary technical element.
That is why exercise equipment is so useful, allowing you to take a variety of poses, especially where movements often occur in the air, after breaking away from the fulcrum. Having been in a state of a kind of weightlessness, a person begins to better feel the subtle elements of movement technique and better imagine them.
sixth position- during the ideomotor thinking of movement, it is sometimes carried out so strongly and clearly that the person begins to move involuntarily. And this is good, as it speaks of establishing a strong connection between the two systems - programming and executing. Therefore, such a process is useful - let the body, as it were, join itself in the execution of the movement that is born in the mind. Such a picture had to be seen most often when exercising with figure skaters. Standing on skates with their eyes closed, they unexpectedly began to move smoothly and slowly following their mental ideomotor representations. As they said, they are "led".
That is why, in cases where ideomotor representations are not realized immediately, with difficulty, it can be recommended to consciously and carefully connect ideomotor representations with the corresponding movements of the body and in this way connect the mental image of the movement with the muscles that perform it.
A few words about the so-called imitations. By imitating, as if in a hint, a real movement or a part of it, a person helps to form a clearer idea of the technical element he needs, going, so to speak, from the periphery, from the muscles, to the center, to the brain. So the imitation of a variety of movements, which can often be seen during a warm-up, is a good help in preparing for this or that difficult exercise.
But, imitating, you need to consciously connect the performed movements with their mental image. If imitations are carried out formally or thinking about something else, imitation actions will not bring benefits.
Seventh position- It is wrong to think about the final result immediately before the exercise. This is one of the more common mistakes.
When concern for the result occupies a dominant position in the mind, it displaces the most important thing - the idea of how to achieve this result. So it turns out that, for example, the shooter thinks that he needs to get into the top ten, this thought begins to interfere with accurate ideas about those technical elements, without which it is simply impossible to get into the top ten. That's why he doesn't get in. “I overdid it, I really wanted it,” they say in such cases, forgetting that in order to achieve the desired result, one must not think about it, but rely on the mental images of those actions that lead to this result.
So, in the ability to present it ideomotorically and accurately immediately before the execution of the movement, to name the executed movement with the corresponding exact words - this is the essence of the "ideomotor principle of building movements".
Let's sum up the main results. So, in order to achieve high accuracy of movement, it is necessary:
firstly, to create an extremely accurate mental image of this movement, at first at least visual;
secondly, to translate this image, while maintaining its high accuracy, onto the rails of ideomotor, that is, to make the movement such that, following its mental image, the corresponding muscle groups begin to function (albeit barely noticeable);
thirdly, to choose a programming verbal design for at least the most important - supporting - elements in the movement being worked out.
You can proceed to the fourth stage - the physical execution of the movement - only after the previous conditions are met, after the ideomotor image of the movement becomes accurate and stable and the muscles that are to perform the intended movement are well "kneaded".
Compliance with this principle of building movements, as practice shows, eliminates many complications and gives desired result much faster than the usual "trial and error" method.
And now a few words about SK-ideomotorics. So, it turned out that if the ideomotor idea of
movement through the SC, then the movement acquires a higher accuracy than after ideomotor training carried out in the normal state of consciousness.
There are two types of SC ideomotorics:
1) with the help of a teacher (hetero-SK-ideomotor) and
2) independent (auto-SK-ideomotor).
So, to summarize: mental preparation for complex auto-
tomatic motor skills is a daily systematic, purposeful training of brain functions, primarily with the help of words and the corresponding words mental images, while training the ability to manage your attention and your emotions.
And now a few words about ideomotor tests.
Under the ideomotor test, we understand the test of the ability to perform actions without visual control, only by motor representation, motor feeling. Ideomotor tests make it possible to react and measure the accuracy of spatial, temporal and power characteristics as simple,
as well as complex movements and actions performed by athletes after various options for direct preparation for them. Test results can be recorded with devices, special devices and fixtures.
Kinematometers (manual and foot) allow you to get accuracy indicators of motor-muscular differentiation in the elbow, wrist, knee, hip joints when performing simple movements after appropriate ideomotor training. So, the subject sits sideways to the apparatus in a comfortable position and puts his forearm on the bed of the kinematometer. Makes several attempts to abduct the arm in a given amplitude, controlling the movement visually and trying to remember the motor-muscular sensations that occur in the elbow joint.
Then several times (depending on the task) ideomotor reproduces these feelings and performs 3-5 control attempts with closed eyes. The magnitude of the error is taken into account according to the graduated scale of the kinematometer; only the initial position of the subject or instrument changes.
Stopwatches determine the accuracy of ideomotor reproduction of speed, duration, simultaneity, sequence of movements of various parts of the body, individual actions and the exercise as a whole. Comparative analysis temporal parameters of ideomotor and real performance of tasks makes it possible to judge the effectiveness of ideomotor training, the ability of each individual to ideomotor and, indirectly, the state of his fitness and technical readiness for the competition.
Dynamometers (manual or dead with a clock-type indicator designed by Abalakov) show the accuracy of reproducing the statistical and dynamic efforts of the studied muscle groups. The indicator of the accuracy of muscle effort indicates the degree of influence different types performance settings.
Target screens, height meters, centimeter tapes record data (up to 1 mm), which can be used to judge the training effect of various ideomotor tasks. For example, on a special stand, taking into account the growth of the subject, a sheet of paper is attached with a circle drawn in the middle with a diameter of 15 mm).
The subject, standing at a distance of 0.5 m from the target, after trial attempts and preliminary ideomotor training, performs five injections into the target without visual control. Similarly, a test is carried out for performing a step forward from the main stance along a line drawn on the floor (a distance of 50 cm from the starting position) and raising the leg to a height of 50 cm from a standing position at the support sideways to the height meter. Errors are fixed according to the data obtained after calculating the deviations of the “pricks” points from the center of the circle and the toe of the foot from the control mark on the floor or on the height meter (in mm).
The training effect of movement representation is determined by the improvement of the result in comparison with the performance of control actions with the help of vision and without it.
The device for performing graphic tasks allows you to get graphic products, according to which you can establish the dependence of the effectiveness of writing figures on the training action of ideomotor tasks and indirectly diagnose the state of mental readiness for the upcoming action.
The design of the device is based on a device for conducting a myokinetic test (Mira, Lopez, 1939). The device consists of a stand and a working platform fixed on it, which is installed in two planes (horizontally and vertically) and can be shifted vertically depending on the height of the subject. A protocol-form is attached to the site. Graphic tasks can be: a horizontal line 5 cm long, equilateral triangle with a side of 5 cm, right angle, etc. Deviation from template is defined in mm and deg.
Influence individual abilities and skills in drawing and drawing are excluded by the conditions of the experiment: a pencil in this case serves not as a drawing tool, but as a scribe, registering the movement of the whole hand. The hand must not touch the work platform.
Tremometers (designs Mede or Verhalo) and special tablets with carved figures included in the electrical network with an electric meter and an electric stopwatch (A.Ts. Puni, V.I. Sekun) make it possible to obtain objective information about the training degree of ideomotor tasks by the number of errors recorded by the counter from touching the tremometer probe and by the time it takes for the subject to "pass" the figures cut on the front panel of the tremometer and tablets.
The rowing apparatus and graduated screens make it possible to obtain data on the effectiveness of ideomotor training in natural conditions. The rowing apparatus is an installation (length 150 cm, width - 24 cm, weight - 5.2 kg) with a conventional kayak seat and an oar 115 cm long with thin needles or chalk attached to its ends. It can be installed on a flat sandy or wooden (plywood) platform. The traces left by the oar after strokes on both sides of the apparatus are measured in cm. In this case, the distance from the beginning of the wiring to its end and from the body of the apparatus to the point of "capture" of the oar is fixed.
A drawn graduated screen and a special device make it possible to register deviations from the exact performance of exercises and jumps after various variants of ideomotor training and adjustment (in degrees and cm). For example, the correct execution of complex jumps with 360 and 720 turns in our studies was considered to be landing in the marked area. The landing point was determined by the midline connecting the heels. The perpendicular reconstructed from this point showed the deviation from the ideal in degrees.
And now a few more words about teaching ideomotor phenomena.
The process of teaching the ideomotor method must be built on the basis of well-known didactic principles, as well as taking into account a number of specific principles:
1. The principle of motivated interest. It involves instilling a serious attitude towards the method. If it is not possible to create a deep and sustainable interest in the method, it will not give the expected effect.
2. The principle of universal efficiency. Actualization of motor representations is an effective means of self-regulation of unfavorable emotions. Ideomotor training brings up a number of necessary intellectual-volitional qualities (the ability to concentrate, intensity and stability of attention, a tendency to self-observation, self-analysis and self-esteem), develops cognitive interest and creative attitude.
3. The principle of dominant efficiency. To the greatest extent, the training effect is manifested in mastering the spatial characteristics of movement, then temporal and, to a certain extent, power. Moreover, the more complex the motor action in terms of its kinematic structure and coordination, the more necessary it becomes to apply ideomotor training.
4. The principle of delayed effect. The first lessons at the initial stage of training are not always accompanied by a training effect. This is due to the lack of a sufficiently complete motion representation program. Beginners to use the ideomotor method in the early stages may lag behind in the pace of learning. However, soon, when motor-muscular representations acquire distinctness and stability, they significantly overtake students who train according to the usual method, without the use of ideomotor.
5. The principle of content efficiency. The content of ideomotor reproduction can be the entire movement or action from beginning to end with all the details and motor components (spatial, temporal and power); all movement (but generalized and curtailed); the most difficult, key moments of action; only its beginning and end. At the same time, against the background of the individual originality of the variants, a stable pattern is revealed: the greatest real training effect of the representation of movement is achieved with ideomotor reproduction in the motor-muscular images of the key moments of the action, its effective essence.
6. The principle of modeling. The effectiveness of ideomotor reproduction is enhanced in conditions of real simulation of actions. By manipulating the model (wire, plastic, graphic, layout), a person seeks to embody the technical model (image of movements) in real movement, fixing the main effective moments or poses in it. At the same time, the trainer can always get the necessary information, what image is being formed or has already been formed in the mind of the student, whether the desired corresponds to the actual. The result of such actions is the creation and consolidation of the optimal model for the student and the coach.
7. The principle of basing. Repeated and prolonged ideomotor reproduction of a movement or action is tiring. nerve centers. As a result, motor representations lose their brightness and clarity, become disordered, vague, which significantly reduces the effectiveness of ideomotor training. Therefore, it is advisable to mentally repeat the ideomotor task 4-5 times, and the task containing complex and lengthy exercises - once.
