UNDERSTANDING CRITICISM

How Feeling and Evaluation Change What We Hear

 A tone of voice can be enough.

Even before the actual sentence has been spoken, something inside already rises. An expectation, an old habit, a quick flinch. You are being called, and in the tone the inner answer is already present.What is it now?What have I done wrong this time?

In this way, direction is given, and the energy for the coming conversation is already colored. The content of the words falls onto an energy that shapes the course.

In the channeled information, it is clear to me that it is never about criticism and evaluation of behavior. Understanding criticism appears in an emotional charge that a statement receives as soon as feelings, expectations, and evaluations participate. In the words from the field there is a neutrality that often helps me in everyday situations to recognize the emotion, step out of it, or also stand by it. So today I tend to perceive criticism from a certain distance. In the feeling of: “Why is this person saying that? It is obvious that ...” I try to step back and play through the behavior that led to this statement once more. Often I then see what moved my counterpart to this mirroring, which feels like criticism to me. Of course, I do not always manage that. As soon as I am already in a tense emotion, a statement connects very quickly with a preconceived criticism.

Yet what can open when, in that moment, I set the charge of criticism aside and look at it as a reminder or mirror? What might it allow me to recognize?

UNDERSTANDING CRITICISM IN THE FIELD OF MEMORY

Last month, we looked at the frame of the mirror as a placeholder for the causes; the mirror itself showed our behavior. In the window images, these aspects can now be found again in a different image. Which evaluations and views lead to the results of my experience? The window images now open a layer that I would previously have assigned more to the subconscious. Old experiences, inner images, learned reactions, stored charges. The field explains that we also access this information in the field.

The window images now open a layer that I would previously have assigned more to the subconscious: old experiences, inner images, learned reactions, stored charges. The channeling speaks here of deeply held emotional memories that become accessible again in certain situations. The window images now open a layer that I would previously have assigned more to the subconscious: old experiences, inner images, learned reactions, stored charges. With this, my view shifts beyond visible behavior toward an inner image that assigns emotional coloring through situations. Memory appears here less as a stored story; it becomes an emotional field that is entered again through the story. You also access these in the field; however, your interpretation lets a similar situation arise out of the feeling.Here are the words of the field:

♾️✍🏼 Your brain is designed for forgetting. Everything you do not need, you will eventually forget. Here are deeply held emotional memories that you can remember in certain situations. You also access these in the field, and your interpretation lets the situation arise out of the feeling.

In the situation, however, many misunderstandings are possible. Your emotional charge has participatory power. So you remember an argument and evaluate this injustice in your own favor. Would you actually see it, or would you ask different questions? Would details appear that you overlook in your current evaluation? You think it was that way. But was it really that way?

You have a good memory of baking cookies with Grandma or Mom while music was playing and you were having a good time together. Was the reminder that you should cut out more carefully and leave less dough behind also fine for you? You had an emotional stability that allowed you to remain in the good feeling. In that way, you can evaluate the situation differently and receive criticism differently.

You work through the collection of events like window images that you place on top of one another until they can no longer be recognized and no clear view is possible. You always had very large windows. We would like to correct this image a little.

Imagine you have a window with many small panes. Every emotion you can express has its own window. Now you have an experience. You assign this experience to an emotion and place it on the assigned window. ✍🏼♾️

An argument shows how memories confirm themselves. Out of the charge, an experience is found in the field from what fits the charge: in the colorings of injustice, of tone, of looks,

When baking cookies, another field carries. Music, closeness, warmth, shared activity. A reminder to cut out more carefully falls into this energy and dissolves. It misses access into the action, the self-image, and remains a casual word in shared doing.

At its core, criticism rarely lands only in the present moment. It touches the window image, through all the layered shades of the same emotion. Depending on the charge, a reminder becomes a hurt, a correction becomes an attack, a sentence becomes an old story.

Understanding criticism begins where I recognize which images are coloring the moment.

THE MISSING CLEAR VIEW

In my past as a daycare mother, I always had apartments with very large windows. As it is with small children, empty windows are never clean. So I always had a lot of decoration in the windows. Sometimes an aquarium made of wax paper, sometimes an Easter meadow made of cotton-wool sheep and fur rabbits with colorful eggs and flowers. Sometimes mosaics made from fingerprints or Advent calendars made from Window Color paints, which came together into huge works of art by Christmas.

That is roughly how I imagined it when the title Window Images came to me. A wide surface on which whole experiences become visible. Until the pane becomes too small and the images of events overlap so much that the clear view is missing.

With the correction from the field, the image shifts. The large pane becomes many small panes, each emotion with its own place. As a child, I knew these old wooden windows on the farm, six panes, and in winter six more panes in front of them between the inner room and the world.

Through this, the window image receives order for me. An experience lies less on one large surface. It is assigned to an emotion; there it receives color, density, place.

A phase that holds us in a certain emotion lets many images arise on the same pane. Criticism, frustration, anger, overwhelm, shame paint deeply opaque colors. A statement, a look, a tone of voice, a reaction finds this pane again and again as soon as the emotional charge is similar enough. In this way, the missing clear view arises in a specific segment. What is inwardly stuck to the same place overlays itself until it remains barely recognizable what belonged to which moment. The pane then carries more than the single event. It carries repetition, evaluation, old tone, habit. Other panes remain bright. Joy, dance, closeness, wonder have their own place. Through this, it becomes understandable why a person can react openly, softly, humorously in one area, while a similar tone of voice releases heaviness immediately in another place. The whole window is full of life. Individual panes carry so many layered images that the view barely comes through there.

THE GUIDED VISUALIZATION WINDOW IMAGES

The guided visualization Window Images invites you from Sunday onward into an inner space where impressions that have become fixed may move. What occupies you at the moment shows itself there from another perspective. Feelings, memories, and inner images can enter a new relationship with one another. Dive into the vivid colors of your inner images.

You can find the new guided visualization on YouTube as well as on my website. The complete October channeling with the first deepening on overlapping can be found in last week’s blog: Window Images — The Mechanics of Overlapping.

I warmly invite you to continue moving through the window images with me this October.