MKRV Remote Viewing Instructions By John Robles
Evaluation of Remote Viewing - 201 pages
CIA/DIA Project STARGATE: 12,105 Secret Documents http://www.jar2.biz/Files/JAR2_Leaks/Project_STARGATE_Dataset.zip
Step by Step Instructions Once You Learn to Completely Clear Your Mind
TABLE OF CONTENTS
A.
General
B. Background
THEORY
A.
Concept
B.
Definitions
C. Discussion
5
D. Levels of
Consciousness 6
E. Learning
Theory 8
F. Reference
Material 11
STRUCTURE
A.
Concept
B. Definitions
and Discussion
C. Summary 16
STAGE I
18
A.
Concept
B.
Definitions
C. Site
Requirements 19
D. Types of
Ideograms
E.
Vertical/Horizontal Ideogram Orientation
F. I/A/B
Formation 20
G. Phases I
and II 21
H. Drills
I. Format
A.
Concept
B.
Definitions
C. Site
Requirements
D.
Clusters
E.
"Basic" Words 25
F.
Aperture
G.
Dimensionals
H.
AOL 26
I. Aesthetic
Impact (AI)
J.
Drills/Exercises
K. Format 27
A.
Concept
B.
Definitions
C. Site
Requirements 31
D. The Six
Primary Dimensionals
E. Aesthetic
Impact
F.
Motion/Mobility 33
G. Dimensional
Expression on Paper
H.
Movement/Movement Exercises 35
I. Analytic
Overlay (AOL) in Stage III 36
J. Format 37 STAGE IV
39
A.
Concept
B.
Definitions
C. Stage IV
Matrix 40
D. Session
Format and Mechanics
E. Format 41 STAGE V
44
A.
Concept
B.
Definitions
C. Format and
Structure 45
D.
Implications 47
E.
Considerations
F. Switches 48
G. AOL and
Stage V 49
H. Format 50 STAGE VI
54
A.
Concept
B. Functions
of Modeling
C. RV
Modality
D. Discussion
55
E. Session
Mechanics
F. Format 56
GLOSSARY
THEORY
"A" Component: The
"feeling/motion" component of the ideogram. The
"feeling/motion" is essentially the impression of the physical
consistency (hard, soft, solid, fluid, gaseous, etc.) and contour/shape/motion
of the site. For example, the monitor has selected, unknown to the viewer, a
mountain as the trainee's site. At the iteration of the coordinate, the trainee
produces an appropriate ideogram, and responds verbally, at the same time as he
writes it: "Rising up, peak, down." This is the "motion"
sensation he experienced as his pen produced the ideogram. He then says
"solid," having experienced the site as being solid as opposed to
fluid or airy. This is the "feeling" component of the Stage 1
process. There are at least five possible types of feelings: solidity,
liquidity, energetic, airiness (that is, where there is more air space than
anything else, such as some suspension bridges might manifest), and
temperature. Other feeling descriptors are possible, but encountered only in
rare circumstances and connected with unusual sites. These components and how
they are expressed in structure will be discussed more fully below. Though in
discussions of theory this aspect is usually address as
"feeling/motion," it will normally be the case in actual session work
that the motion aspect is decoded first with the feeling portion coming second.
AOL ("Analytic Overlay"): The analytic
response of the viewer's mind to signal line input. An AOL is usually wrong,
especially in early stages, but often does possess valid elements of the
site[5] that are contained in the signal line; hence, a light house may produce
an AOL of "factory chimney" because of its tall, cylindrical shape.
AOLs may be recognized in several ways. First, if there is a comparator present
("it looks like...", "it's sort of...", etc.) the
information present will almost inevitably be an AOL, and should always be
treated as one. Secondly, a mental image that is sharp, clear, and static--that
is, there is no motion present in it, and in fact it appears virtually to be a
mental photograph of the site--is also certainly AOL.[6] Hesitation in
production of the "B" component in Stage I coordinate remote viewing,
or a response that is out of structure anywhere in the system[7] are also
generally sure indicators that AOL is present. Finally, the monitor or viewer
can frequently detect AOL by the inflection of the viewer's voice or other
micro behaviors.[8] Data delivered as a question rather than a statement should
be recognized as usually being AOL.
AOLs
are dealt with by declaring/objectifying them as soon as they are recognized,
and writing "AOL Break" on the right side of the paper, then writing
a brief description of the AOL immediately under that. This serves to
acknowledge to the viewer's system that the AOL has been recognized and duly
recorded and that it is not what is desired, thereby purging the system of
unwanted noise and debris and allowing the signal line in its purity to be
acquired and decoded properly.
AOL Matching: With the expansion in aperture inherent
in Stage III, and after appropriate AI, the AOL phenomenon develops to where a
viewer's AOL may match or nearly match the actual signal line impression of the
site. For example, if the site were Westminster Abbey, the viewer might produce
the AOL of Notre Dame cathedral. Or he might even actually get an image of
Westminster Abbey that nevertheless fills all the criteria for an AOL.
According to theory, the matching AOL is superimposed over the true signal
line. It is however possible with practice to distinguish the vague parameters
of the true signal line "behind" the bright, distinct, but somewhat
translucent image of the AOL. The viewer must become proficient at "seeing
through" the AOL to the signal line. Use of "seeing through"
here must not be taken to imply any visual image in the accepted sense of the
word, but rather as a metaphor best describing the perceptory effect that manifests
itself.
AOL/S: Virtually synonymous with the previously
considered term "AOL Matching," AOL/Signal occurs when an AOL
produced by the viewer's analytic mental machinery almost exactly matches the
site, and the viewer can to some extent "look" through the AOL image
to perceive the actual site. The advantage of AOL/S in Stage IV is that it
allows the information to be used without calling a break. One can ask,
"What is this trying to tell me about the site?" As an example, the
viewer may perceive the Verazzano Narrows Bridge when in fact the site is
actually the George Washington Bridge.
AOL Drive: Although mentioned before, AOL Drive
becomes a serious concern beginning in Stage III. It occurs when the viewer's
system is caught up in an AOL to the extent that the viewer at least
temporarily believes he is on the signal line, even though he is not. When two
or more similar AOLs are observed in close proximity, AOL drive should be
suspected. AOL drive is indicated by one or more of the following: repeating
signals; signal line ending in blackness; peculiar (for that particular viewer)
participation in the signal line; and/or peacocking. Causes for AOL drive
include accepting a false "B" component in Stage I; or accepting a
false sketch or undeclared AOL in Stage III. Undeclared AOLs can spawn AOL
drive in all other stages beyond Stage III as well. Once it is realized that
AOL drive is present, the viewer should take an "AOL/D Break" (as
discussed under STRUCTURE), then review his data to determine at what point he
accepted the AOL as legitimate data. After a sufficient break the viewer should
resume the session with the data obtained before the AOL drive began. Listed
below are two subspecies of AOL drive.
Ratcheting: The recurrence of the same AOL over and
over again as if trapped in a feedback loop.
AOL "Peacocking": The rapid unfolding, one
right after another, of a series of brilliant AOLs, each building from one
before, analogous to the unfolding of a peacock's tail.
Aesthetic: Sensitivity of response to given site.
Aperture: An opening or open space; hole, gap, cleft,
chasm, slit. In radar, the electronic gate that controls the width and
dispersion pattern of the radiating signal or wave.
Attributes: An attribute is a characteristic or
quality of a person or thing. "Attributes" applies to those
characteristics of the site that contributed to cognitron formation and the
aforementioned viewer response: "quiet," "dimly lit,"
"echoing," "large," etc.
Auditory: Of or pertaining to hearing, to the sense of
hearing, or to the organs of hearing. Perceived through or resulting from the
sense of hearing.
B
"B" Component: The first (spontaneous)
analytic response to the ideogram and "A" component.
Breaks: The mechanism developed to allow the system to
be put on "hold," providing the opportunity to flush out AOLs, deal
with temporary inclemencies, or make system adjustments, allowing a fresh start
with new momentum.
Break (Break): If at any point in the system the
viewer must take a break that does not fit into any of the other categories, a
"Break" is declared. It has been recommended that a break not be
taken if the signal line is coming through strong and clear. If the break is
extensive--say for twenty minutes or more, it is appropriate to objectify
"Resume" and the time at the point of resumption.
The
viewer declares a break by objectifying "AOL Break," "AI
Break," "Bilo Break," etc., as appropriate, usually in the right
hand margin of the paper. Immediately underneath he briefly objectifies in one
or a few words the cause or content of what occasioned the necessity for a
break.
There are seven types of breaks:
AOL Break: As mentioned above, allows the signal line
to be put on hold while AOL is expelled from the system.
Confusion Break (often, "Conf Bk"): When the
viewer becomes confused by events in his environment or information in the
signal line to the degree that impressions he is receiving are hopelessly
entangled, a Confusion Break is called. Whatever time necessary is allowed for
the confusion to dissipate, and when necessary the cause for confusion is
declared much like it is done with AOL. The RV process is then resumed with an
iteration of the coordinate.
Too Much Break ("TM Break"): When too much
information is provided by the signal line all at once for the viewer to
handle, a "Too Much Break" is called and written down (objectified),
telling the system to slow down and supply information in order of importance.
After the overload is dissipated, the viewer may resume from the break, normally
with the reiteration of the coordinates. A too much break is often indicated by
an overly elaborate ideogram or ideograms.
Aesthetic Impact Break ("AI Break"): Will be
discussed in conjunction with Stage III.
AOL Drive Break (AOL-D Bk): This type of break becomes
necessary when an AOL or related AOLs have overpowered the system and are
"driving" the process (as evidenced by the recurrence of a specific
AOL two or more times), producing nothing but spurious information.[10] Once
the AOL-Drive is objectified, the break time taken will usually need to be
longer than that for a normal AOL to allow the viewer to fully break contact
and allow to dissipate the objectionable analytic loop.
Bi-location Break (Bilo Bk): When the viewer perceives
he is too much absorbed in and transferred to the site and cannot therefore
appropriately debrief and objectify site information, or that he is too aware
of and contained within the here-and-now of the remote viewing room, only
weakly connected with the signal line, a Bilo break must be declared and
objectified to allow the viewer to back out, and then get properly recoupled
with the signal line again.[11]
C
Coding/Encoding/Decoding: The information conveyed on
the signal line is "encoded," that is translated into an information
system (a code) allowing data to be "transmitted" by the signal line.
Upon receiving the signal, the viewer must "decode" this information
through proper structure to make it accessible. This concept is very similar to
radio propagation theory, in which the main carrier signal is modulated to
convey the desired information.
Coordinate Remote Viewing (CRV): The process of remote
viewing using geographic coordinates for cueing or prompting.
D
Dimension: Extension in a single line or direction as
length, breadth and thickness or depth. A line has one dimension, length. A
plane has two dimensions, length and breadth. A solid or cube has three
dimensions, length, breadth and thickness.
Dimensionals: "Dimensionals" have a broader
meaning in Stage IV than in Stage III. In Stage IV, more detailed and complex
dimensionals can be expected and are now considered to be in structure and
therefore more reliable. "Spired," "twisted,"
"edged," "partitioned," etc. are only a few examples.
Drawing: The act of representing something by line,
etc.
E
Emotional Impact: The perceived emotions or feelings
of the people at the site or of the viewer. Sometimes the site itself possesses
an element of emotional impact, which is imprinted with long or powerful
associations with human emotional response.
Evoking: (Evoke: "to call forth or up; to summon;
to call forth a response; elicit.") Iteration of the coordinate or
alternate prompting method is the mechanism which "evokes" the signal
line, calling it up, causing it to impinge on the autonomic nervous system and
unconsciousness for transmittal through the viewer and on to objectification
(discussed at length in STRUCTURE).
F
Feedback: Those responses provided during the session
to the viewer to indicate if he has detected and properly decoded site-relevant
information; or, information provided at some point after completion of the RV
session or project to "close the loop"
Correct (abbreviated "C"): The data bit
presented by the trainee viewer is assessed by the monitor to be a true
component of the site.
Probably Correct ("PC"): Data presented
cannot be fully assessed by the monitor as being accurate site information, but
it would be reasonable to assume because of its nature that the information is valid
for the site.
Near Site ("N"): Data objectified by the
viewer are elements of objects or locations near the site.
Can't Feed Back ("CFB"): Monitor has
insufficient feedback information to evaluate data produced by the viewer.
Site ("S"): Tells the former that he has
successfully acquired and debriefed the site. In elementary training sessions,
this usually signifies the termination of the session. At later stages, when
further information remains to be derived from the site, the session may continue
on beyond full acquisition of the site.
Silence: When information objectified by the trainee
viewer is patently incorrect, the monitor simply remains silent, which the
viewer may freely interpret as an incorrect response.
In
line with the learning theory upon which this system is based, the intent is to
avoid reinforcing any negative behavior or response. Therefore, there is no
feedback for an incorrect response; and any other feedback information is
strictly limited to those as defined above.
It
should be noted here that the above refers to earlier stages of the training
process. Later stages do away with in-session feedback to the viewer, and at
even later stages the monitor himself is denied access to any site information
or feedback until the session is over.
G
Gestalt: A unified whole; a configuration, pattern, or
organized field having specific properties that cannot be derived from the
summation of its component parts.
Major Gestalt: The overall impression presented by all
elements of the site taken for their composite interactive meaning. The one
concept that more than all others would be the best description of the site.
I
I/A/B Sequence: The core of all CRV structure, the
"I/A/B" sequence is the fundamental element of Stage I, which is
itself in turn the foundation for site acquisition[2] and further site
detection and decoding in subsequent CRV stages. The sequence is composed of an
ideogram (the "I"), which is a spontaneous graphic representation of
the site's major gestalt; the "A" component or
"feeling/motion" involved in the ideogram; and the "B"
component, or first analytic response to the signal line. (A full discussion
may be found in the Stage I section below.)
Idea: Mental conception; a vague impression; a hazy
perception; a model or archetype.
Ideogram: The "I" component of the I/A/B
sequence. The ideogram is the spontaneous graphic representation of the major
gestalt, manifested by the motion of the viewer's pen on paper, which motion is
produced by the impingement of the signal line on the autonomic nervous system
and the reflexive transmission of the resultant nervous energy to the muscles
of the viewer's hand and arm. The objectified ideogram has no
"scale;" that is, the size of the ideogram relative to the paper
seems to have no relevance to the actual size of any component at the site.
Impact: A striking together; changes, moods, emotions,
sometimes very gross, but may be very weak or very subtle.
Inclemencies: Personal considerations that might
degrade or even preclude psychic functioning. Muscle pains, colds, allergies,
menstrual cramps, hangovers, mental and emotional stress, etc., could cause
increased difficulty to the viewer in accessing the signal line, but could be
"worked through," and ultimately are only minor nuisances. Only
hunger and a pressing need to eliminate body wastes cause the system to totally
not function. It is important, though, that the viewer identify and declare any
inclemencies either at the first of the session or as they are recognized,
since unattended agendas such as these can color or distort the viewer's
functioning if not eliminated from the system through objectification (see
below). Preferably, the monitor will ask the viewer if he has any personal
inclemencies even before the first iteration of the coordinate so as to purge
the system as much as possible before beginning the session proper.
Intangibles: Qualities of the site that are perhaps
abstract or not specifically defined by tangible aspects of the site, such as
purposes, non-physical qualities, categorizations, etc.; i.e.,
"governmental," "foreign," "medical,"
"church," "administrative," "business,"
"data-processing," "museum," "library," etc.
M
Matrix: Something within which something else
originates or takes form or develops. A place or point of origin or growth.
Mobility: The state or quality of being mobile.
Monitor: The individual who assists the viewer in a
remote viewing session. The monitor provides the coordinate, observes the
viewer to help insure he stays in proper structure (discussed below), records
relevant session information, provides appropriate feedback when required, and
provides objective analytic support to the viewer as necessary.[4] The monitor plays
an especially important role in training beginning viewers.
Motion: The act or process of moving.
O
Objects: An object is a thing that can be seen or
touched. "Objects" can be understood as those physical items present
at the site that helped cause the cognitron to form in the viewer's mind and
hence prompt his response of "religious;" i.e., "robes,"
"candles," "incense," etc.
Objectification: The act of physically saying out loud
and writing down information. In this methodology, objectification serves
several important functions. First, it allows the information derived from the
signal line to be recorded and expelled from the system, freeing the viewer to
receive further information and become better in tune with the signal line.
Secondly, it makes the system independently aware that its contributions have
been acknowledged and recorded. Thirdly, it allows re-input of the information
into the system as necessary for further prompting. In effect, objectification
"gives reality" to the signal line and the information it conveys.
Finally, objectification allows non-signal line derived material (inclemencies,
AOLs, etc.) that might otherwise clutter the system and mask valid signal line
data to be expelled.
P
Perceptible: That which can be grasped mentally
through the senses.
Prompt: To incite to move or to action; move or
inspire by suggestion.
R
Remote Viewer: Often referred to in the text simply as
"viewer," the remote viewer is a person who employs his mental
faculties to perceive and obtain information to which he has no other access
and of which he has no previous knowledge concerning persons, places, events,
or objects separated from him by time, distance, or other intervening
obstacles.
Remote Viewing (RV): The name of a method of psychoenergetic
perception.[1] A term coined by SRI-International[2] and defined as "the
acquisition and description, by mental means, of information blocked from
ordinary perception by distance, shielding or time."[3]
Rendering: Version; translation (often highly
detailed).
S
Self-Correcting Characteristic: The tendency of the
ideogram to re-present itself if improperly or incompletely decoded. If at the
iteration of the coordinate an ideogram is produced and then decoded with the
wrong "A" & "B" components, or not completely decoded,
upon the next iteration of the coordinate the same ideogram will appear,
thereby informing the viewer that he has made an error somewhere in the
procedure. On rare occasions, the ideogram will be re-presented even when it has
been properly decoded. This almost inevitably occurs if the site is extremely
uniform, such as the middle of an ocean, a sandy desert, glacier, etc., where
nothing else but one single aspect is present.
Sense: Any of the faculties, as sight, hearing, smell,
taste, or touch, by which man perceives stimuli originating from outside or
inside the body.
Sensory: Of or pertaining to the senses or sensations.
Signal: Something that incites into action; an
immediate cause or impulse. In radio propagation theory, the carrier wave that
is received by the radio or radar receiving set.
Signal Line: The hypothesized train of signals
emanating from the Matrix (discussed below) and perceived by the remote viewer,
which transports the information obtained through the remote viewing process.
Sketch: To draw the general outline without much
detail; to describe the principle points (idea) of.
Subjects: "Subject" is defined as
"something dealt with in a discussion, study, etc.,"
"Subjects" are emanations that might serve a nominative function in
describing the site, or be abstract intangibles, or they could be more specific
terms dealing with function, purpose, nature, activities, inhabitants, etc., of
the site: in the above example, "reverence," "worship,"
"respect," "harmonious chanting," etc.
T
Tactile: Of, pertaining to, endowed with, or affecting
the sense of touch. Perceptible to the touch; capable of being touched;
tangible.
Tangibles: Objects or characteristics at the site
which have solid, "touchable" impact on the perceptions of the
viewer, i.e., tables, chairs, tanks, liquids, trees, buildings, intense smells,
noises, colors, temperatures, machinery, etc.
Topics: "Topic" is defined as "a
subject of discourse or of a treatise; a theme for discussion." Closely
related to "subjects," "topics" often prove to be
sub-elements of one or more of the subjects already listed, and frequently are
quite specific: "mass," "Catholic," "priest,"
"communion," and so forth. An interesting phenomenon to be here
considered is that just as one of the subjects encountered may produce several
topics, a topic itself may in turn be considered as a subject and produce
topics of its own. This construction appears to be very hierarchical and
"fractalized," with larger cognitrons being subdivided into smaller
ones, which in turn can be further divided, and so on. In fact, any emanation
thus "broken out," or "stage-fived" can itself often be
further "stage-fived," and subdivided into its own object/attribute/subject/topic
categories.
Track: To trace by means of vestiges, evidence, etc.;
to follow with a line.
V
Vision: One of the faculties of the sensorum,
connected to the visual senses out of which the brain constructs an image.
W
Wave: A disturbance or variation that transfers itself
and energy progressively from point to point in a medium or in space in such a
way that each particle or element influences the adjacent ones and that may be
in the form of an elastic deformation or of a variation of level or pressure,
of electric or magnetic intensity, of electric potential, or of temperature.
The Coordinate Remote Viewing Manual
Introduction by Paul H. Smith [Major, ret.]
For a number of what I consider to be very good
reasons, I strenuously resisted making the DIA CRV manual public. Since some of
my former colleagues had fewer reservations about its dissemination, it now
appears inevitable that the manual will become widely available, beginning with
its posting here on this webpage. The best I can do now, it would seem, is to at
least provide its context so people will better know how to take it.
In 1983-1984, six personnel from the military remote
viewing unit at Ft. Meade participated in training contracted from
SRI-International. This was the recently-developed coordinate remote viewing
training, and the primary developer and trainer was the legendary Ingo Swann.
One of the first trainees, Rob Cowart, was diagnosed with cancer, and was
medically retired from active duty, terminating his training after only a few
months. (Sadly Rob, who had been in remission for many years, died a year or so
ago from the disease.) The second, Tom "Nance" (his pseudonym in Jim
Schnabel’s book, Remote Viewers) completed all training through Stage VI as the
proof-of-principle "guinea pig." His results were not just
impressive. Some could even be considered spectacular.
Beginning in January of 1984, the remaining four of us
began training with Ingo in California and New York. This contract lasted for a
full year. Ed Dames, "Liam," Charlene, and myself continued through
until December (though Ed dropped out just before completion due to the birth
of a son). We completed through Stage III training with Ingo. Towards the end
of 1984 our patron and commander, Major General Burt Stubblebine was forced to
retire and the RV program was threatened with termination. Consequently, no
further contracts were let for training.
During the course of 1985, our future was very
uncertain. However, the branch chief, together with Fred "Skip"
Atwater (the training and operations officer), were hopeful that the unit would
find a sponsor (which indeed happened) and decided to continue our training
through Stage VI, with the help of Nance’s experience and considerable
documentation and theoretical understanding that Atwater and others had managed
to accrue.
At the conclusion of our training, and with a number
of successful operational and training projects under out belts to show that
CRV really did work, the further decision was made to try and capture in as
pure a form as possible the Ingo methodology. The reasoning was that we might
never get any more out-of-house training approved, yet we needed to be able to
perpetuate the methodology even after the folks with the "institutional
memory" eventually left the unit. I had developed the reputation of being
the "word man" in the unit, plus Skip and the branch chief seemed to
think I had a firm understanding and grasp of the theory and methodology, so I
was asked to write a manual capturing as much of the CRV methodology as possible,
with the assistance of the others who had been trained.
We pooled our notes, and I wrote each section, then
ran it by the others for their suggestions and comments. Corrections and
suggestions were evaluated and added if it could be established that they
matched true "Ingo theory." Skip and Tom both reviewed the manuscript
and provided their input as well. When the thing was finally done, a copy was
forwarded to Ingo, who deemed it a "comprehensive and accurate
document." Finally, Skip provided a three-page introductory section which
it now turns out was apparently originally drafted by Joe McMoneagle. The
finished version was printed at the DIA press in May 1986. It was a specialty
run, and was never given an official DIA document number. I don’t believe any
more than thirty or so were printed.
Things to keep in mind about the CRV manual: It wasn't
intended as a training manual per se, and certainly not as a stand alone
training manual. It’s primary purpose was to capture and preserve for posterity
Ingo’s methodology. The very first page declares that it was "prepared to
serve as a comprehensive explanation of the theory and mechanics" of CRV,
and as a "guide for future training programs." We certainly didn't
develop it as a "how to." Since we always assumed any further
training to be done would either involve Ingo or someone who had already been
trained, the manual did not incorporate lessons-learned, nor the practical
implementation of CRV in an operational setting, nor even to explain how one
taught people to do CRV, nor why CRV included certain points of theory and
process in its methodological base. There are of course lots of things to be
said about all these points, and we had ambitions at one time of writing a
practical hands-on RV training manual. Unfortunately, events conspired against
us and it never happened.
In the hands of someone who understands CRV and
already knows what is going on, the manual can be extremely useful in teaching others
to remote view. We used it in the theory and lecture part of the CRV training
of everyone who became a CRVer at the Ft. Meade unit (the one exception was Lyn
Buchanan, whom we taught CRV before the manual became reality). I have used it
exclusively in my commercial training activities (augmented, of course, by my
own experience in training and operations), and I think most, if not all of my
students would confirm the efficacy of this approach. It represents CRV in its
purest form, and any departures from the principles it contains should be
examined at long and hard before they are accepted. There are already a number
of alleged "product improvements" based upon the CRV manual that not
only are not improvements, but if they aren’t just changing "happy"
to "glad" or adding superfluous embellishments, may even be outright
eviscerations of CRV’s principles and effective methodologies. In considering
these "new versions" of CRV methodology, it is definitely a case of
caveat emptor.
I see as a positive benefit of posting the manual that
some of the chicanery and foolishness may finally be unveiled that has been
able to persist around derivatives of CRV because the "bottom line"
hasn’t until now been available. There are of course those who will offer as their
excuse that this manual represents obsolete technology. My response is that
none of its derivatives have thus far demonstrated anything better--or in most
cases even as good--under similar constraints.
Paul H. Smith
A.
General
The
following definitions and descriptions are provided to acquaint the reader with
the remote viewing phenomenon and a typical remote viewing session.
1.
Definitions:
a.
Remote Viewing (RV): The name
of a method of psychoenergetic perception. A term coined by SRI-International
and defined as "the acquisition and description, by mental means, of
information blocked from ordinary perception by distance, shielding or
time."
b.
Coordinate Remote Viewing
(CRV): The process of remote viewing using geographic coordinates for cueing or
prompting.
c.
Remote Viewer: Often referred
to in the text simply as "viewer," the remote viewer is a person who
employs his mental faculties to perceive and obtain information to which he has
no other access and of which he has no previous knowledge concerning persons,
places, events, or objects separated from him by time, distance, or other
intervening obstacles.
d.
Monitor: The individual who
assists the viewer in a remote viewing session. The monitor provides the
coordinate, observes the viewer to help insure he stays in proper structure
(discussed below), records relevant session information, provides appropriate
feedback when required, and provides objective analytic support to the viewer
as necessary. The monitor plays an especially important role in training
beginning viewers.
2.
Descriptions:
a.
Remote Viewing Session: In a
remote viewing session an individual or "viewer" attempts to acquire
and describe by mental means alone information about a designated site. The
viewer is not told what the site is that must be described but is provided a
cue or prompt which designates the site.
b.
Session Dynamics: In
conducting a coordinate remote viewing session, a remote viewer and a monitor
begin by seating themselves at the opposite ends of a table in a special remote
viewing room equipped with paper and pens, a tape recorder, and a TV camera which
allows either recording for documentation, or monitoring by individuals outside
the room. The room is homogeneously-colored, acoustic-tiled, and featureless,
with light controlled by a dimmer, so that environmental distractions can be
minimized. The session begins when the monitor provides cueing or prompting
information (geographic coordinates in this case) to the remote viewer. The
remote viewer is given no additional identifying information, and at this point
has no conscious knowledge of the actual site. For training purposes, the
monitor is allowed to know enough about the site to enable him to determine
when accurate versus inaccurate information is being provided. The session then
proceeds with the monitor repeating the prompting information at appropriate
intervals and providing necessary feedback. The remote viewer generates verbal
responses and sketches, until a coherent response to the overall task
requirement emerges.
c.
Post Session Dynamics: After
the session is over, the remote viewer and monitor obtain specific information
about the site in picture/descriptive form. The remote viewer and monitor then
discuss the session results.
B.
Background:
In early
1980, an SRI - International (SRI-I) subcontractor developed a training
procedure known as Coordinate Remote Viewing to satisfy R&D demands on
SRI-I to enhance the reliability (scientific replicability) of remote viewing
(RV). The subcontractor's approach to improving the reliability of RV was to
focus on the control of those factor that in his view tend to introduce
"noise" into the RV product (imaginative, environmental, and
interviewer overlays). The basic components of this training procedure consist
of:
(1)
Repeated
site-address (geographic coordinate) presentation, with quick-reaction response
by the remote viewing; coupled with a restrictive format for reporting
perceived information (to minimize imaginative overlays).
(2)
The use of
a specially-designed, acoustic-tiled, relatively featureless, homogeneously-colored
"viewing chamber" (to minimize environmental overlays).
(3)
The
adoption of a strictly-prescribed, limited interviewer patter (to minimize
interviewer overlays).
The
training procedure requires that the trainee learn a progressive, multi-stage
acquisition process postulated to correspond to increased contact with the
site. At present there are six "stages" of training. In general,
these stages progress as follows:
(1)
"Stage I" sites (islands, mountains, deserts, etc.).
(2)
"Stage II" sites (sites of quality sensory value--sites which
are uniquely describable through touch, taste, sound, color, or odor--such as
glaciers, volcanoes, industrial plants, etc.).
(3)
"Stage III" sites (sites possessing significant dimensional
characteristics such as buildings, bridges, airfields, etc.).
(4)
"Stage IV" sites for which the trainee begins to form
qualitative mental percepts (technical area, military feeling, research, etc.).
(5)
"Stage V" sites for which the trainee learns to "interrogate"
qualitative mental percepts in an attempt to product analytical target
descriptions (aircraft tracking radar, biomedical research facility, tank
production plant, etc.).
(6)
"Stage VI" sites which involve the trainee in direct,
three-dimensional assessment and modeling of the site and/or the relationship
of site elements to one another (airplanes inside one of three camouflaged
hangars or a military compound with a command building, barracks, motor pool,
and underground weapons storage area).
The following document has been prepared to
serve as a comprehensive explanation of the theory and mechanics of CRV as
developed by SRI-I. It is intended for individuals who have no in-depth
understanding of the technology and as a guide for future training programs.
Particular attention should be paid to the glossary at the end of the document
and to the terms as defined in the text, as they are the only acceptable
definitions to be used when addressing the methodology presented.
A.
Concept:
Any
given site has an overall nature or "gestalt," as it is referred to
below, that makes it uniquely what it is. In Stage I, the remote viewer is
taught to acquire the signal line, attune himself to it, and proceed to decode
and objectify this site getalt and the major pieces of information that pertain
to it. A properly executed Stage I is the very foundation of everything that
follows after it, and it is therefore of utmost importance to maintain correct
structure and achieve an accurate Stage I concept of the site. All CRV sessions
begin with Stage I.
B.
Definitions:
1.
Major Gestalt: The overall impression presented by all elements of the site
taken for their composite interactive meaning. The one concept that more than all
others would be the best description of the site.
2.
Ideogram: The "I" component of the I/A/B sequence. The ideogram is
the spontaneous graphic representation of the major gestalt, manifested by the
motion of the viewer's pen on paper, which motion is produced by the
impingement of the signal line on the autonomic nervous system and the
reflexive transmission of the resultant nervous energy to the muscles of the
viewer's hand and arm. The objectified ideogram has no "scale;" that
is, the size of the ideogram relative to the paper seems to have no relevance
to the actual size of any component at the site.
3.
"A" Component: The "feeling/motion" component of the
ideogram. The "feeling/motion" is essentially the impression of the
physical consistency (hard, soft, solid, fluid, gaseous, etc.) and
contour/shape/motion of the site. For example, the monitor has selected,
unknown to the viewer, a mountain as the trainee's site. At the iteration of
the coordinate, the trainee produces an appropriate ideogram, and responds
verbally, at the same time as he writes it: "Rising up, peak, down."
This is the "motion" sensation he experienced as his pen produced the
ideogram. He then says "solid," having experienced the site as being
solid as opposed to fluid or airy. This is the "feeling" component of
the Stage 1 process. There are at least five possible types of feelings:
solidity, liquidity, energetic, airiness (that is, where there is more air
space than anything else, such as some suspension bridges might manifest), and
temperature. Other feeling descriptors are possible, but encountered only in
rare circumstances and connected with unusual sites. These components and how
they are expressed in structure will be discussed more fully below. Though in discussions
of theory this aspect is usually address as "feeling/motion," it will
normally be the case in actual session work that the motion aspect is decoded
first with the feeling portion coming second.
4.
"B" Component: The first (spontaneous) analytic response to the
ideogram and "A" component.
C.
Site Requirements:
For
training in Stage I, a stage-specific site is selected. Basic Stage I
coordinate remote viewing sites generally comprise an area isolated by some
five miles on a side and possess easily identifiable major gestalts that may be
easily decoded in simple Stage I sessions. All sites have Stage I gestalts, but
for training Stage I perceptions these "simple" sites are selected.
D. Types
of Ideograms:
There
are four types of ideograms:
1.
Single: One unbroken mark or line, containing only one "A" component
(feeling/motion) and one "B" component.
2.
Double: Two basically parallel marks or lines. Produces usually at least three
sets of "A" and "B" components: one for the area between
the marks, and one each for the areas on either side of the marks. Two other
"A" and "B" components may be present as well, one for each
of the marks. Railroad tracks, roads, canals, etc. may produce this type of
ideogram.
3.
Multiple: Two or more different marks, each producing its own set or sets of
"A" and "B" components. Such an ideogram may be obtained
when there is more than one major gestalt present at a given site--such as a lake,
city and mountain--all within the area designated by the coordinate. This type
of ideogram may occasion the necessity of taking a "Too Much Break"
because of the volume of information contained in more than one major gestalt.
Caution must be exercised here, since a single mark may actually represent
either a double or multiple ideogram, but may be mistaken for a single
ideogram. To ascertain this, the signal line must be prompted by placing the
pen on the mark and also to either side to determine if more than one
"A" and "B" component is also present.
4.
Composite: "Pen leaves paper more than twice, makes identical marks,"
and produces one set of "A" and "B" components. Things such
as orchards, antenna fields, etc., with numbers of identical components produce
this type of ideogram.
E.
Vertical/Horizontal Ideogram Orientation:
Ideograms may be encountered (objectified) either parallel with the
plane of the horizon (horizontal) or perpendicular to it (vertical). For
example, the Gobi desert being predominantly flat, wave sand, would produce a
motion portion of the Stage I "A" indicating a horizontal ideogram.
The Empire State Building, however, would produce some sort of vertical
response such as "up, angle," in the motion portion of the
"A," indicating a vertical ideogram. However, a crucial point to
remember is the objectification of the ideogram is completely independent
either of what it looks like or its orientation on paper. It is imperative to
realize that what determines the vertical/horizontal ideogram orientation is
not the site's inherent manifestation of the physical world, and not how or
what direction it is executed on the paper, or even the RVer's "point of
view," since in Stage I there is no viewer site orientation in the
dimensional plane. Simply observing how the ideogram looks on paper will not
give reliable clues as to what the orientation of the ideogram might be. The
ideogram objectified as "across, flat, wavy" for the Gobi Desert
might on the paper be an up and down mark. The ideogram for the Empire State
Building could possibly be represented as oriented across the paper.
It is
obvious then that ideograms can not be interpreted by what they "look
like," but by the feeling/motion component produced immediately following
the ideogram. The viewer must learn to sense the orientation of an ideogram as
he executes it. If unsuccessful on the first attempt, the ideogram may be
"re-prompted" by moving the pen along it at the same tempo as it was
produced, with the viewer being alert to accurately obtain the missing
information.
F.
I/A/B/ Formation:
As the
monitor gives the prompting information (coordinate, etc.) the viewer writes it
down on the left side of the paper, then immediately afterwards places his pen
on the paper again to execute the ideogram ("I"). This presents
itself as a spontaneous mark produced on the paper by the motion of hand and
pen. Immediately upon execution of the ideogram, the viewer then moves his pen
to the right third of the paper where he writes "A" and describes
briefly the feeling/motion characteristics of the site as it is manifest in the
ideogram, for example, "A
Across
angle up angle across angle down, solid."
Upon
correctly decoding the feeling/motion component, the viewer then moves his pen
to a position below the recorded feeling/motion responses and directly under
the "A," then writes "B." He then records the appropriate
"B" component response, which will be the first instantaneous
analytic response following the ideogram and feeling/motion components to the
signal line's impingement on his system. Sample responses may be
"mountain," "water," "structure,"
"land," "ice," "city," "sand,"
"swamp," etc.
G.
Phases I and II:
Stage I
training is divided into two phases, determined by the number and types of
major gestalts produced by the site used. For example, mountain, city, or
water. Phase II includes sites with more than one major gestalt, and therefore
some sort of identifiable interface: a beach on an ocean, an island, a city by
a river, or a mountain with a lake.
H.
Drills:
Most
viewers tend to establish well-worn patterns in executing ideograms on paper.
If such habits become established enough, they can actually inhibit proper
handling of the signal line by restricting ease and flexibility in proper
ideogram production. In order to counter this tendency, training drills may
occasionally be conducted. These drills use paper with a larger number of
rectangles, outlined in black, of different sizes, proportions, and
orientations (i.e., with the long sides paralleling in some cases the top of
the paper and other cases paralleling the sides of the paper). As he comes to
each of these rectangles on the paper in turn, the viewer is directed to
execute an ideogram for a given site (i.e., "mountain,"
"lake," "city," "canyon," "orchard,"
"island," "mountain by a lake with a city,"
"waterfall," "volcano," etc.) with his pen inside the
rectangle, extending the ideogram as appropriate from one side of the rectangle
to another without passing outside the rectangle. Each time the directions may
vary--the ideogram will have to be executed from top to bottom, right to left,
left to right, bottom to top, diagonally, etc. In the case of ideograms that do
not have a directional emphasis, such as one formed by a circle, a grouping of
dots, etc., the ideogram must fill the area of the rectangle without going
outside it. The ideogram must be executed as rapidly as possible, without any
hesitation or time taken to think. The purpose of this exercise is obviously to
encourage spontaneity and increase facility with pen on paper; though it is
unlikely that real signal line connection occurs, the ideograms created by the
near-totally reflexive actions involved in the drill approach actual archetypal
ideogrammatic styles.
I.
Format:
All
sessions are begun by writing the viewer's name and the date/time group of the
session in the upper right hand corner of the paper, together with any other
session-relevant information deemed necessary by the monitor. As stated above,
the coordinate or other prompting information is written in the left third of
the paper, the ideogram approximately in the middle third (though because of
the spontaneous nature of the ideogram, it may sometimes be executed much
closer to the prompting data, sometimes even being connected to it), and the
"A" and "B" components in the right third. AOL and other
breaks are declared near the right edge of the paper. This format constitutes
the structure of Stage I and when properly executed, objectifies ("gives
reality" to) the signal line. Following is a sample Stage I format:
(FORMAT FOR STAGE I)
--------------------------------------------------------------------------------
Name
Date
Time
(Personal Inclemencies/Advance Visuals Declared)
(Coordinate) (Ideogram) A Across angle up angle angle
across angle down
Solid
B Structure
AOL Break
Sports Stadium
A.
Concept:
Stage
II presents to the viewer's cognition signal line data relevant to physical
sensory input. The classic explanation of this is that such data are exactly
equivalent to "sensations the viewer would experience were he physically
present at the site." In effect, this allows the viewer to come into
closer contact with the signal line through recognition and objectification of
sensory facts relevant to the site. This information centers around the five physical
senses: touch, smell, sight, sound, and taste, and can include both temperature
(both as a tactile "hot/cold to the touch" sensation, and/or a
general environmental ambience) and "energetics" (i.e.g, magnetism,
strong radio broadcasts, nuclear radiation, etc.).
B.
Definitions:
1.
Sense: Any of the faculties, as sight, hearing, smell, taste, or touch, by
which man perceives stimuli originating from outside or inside the body.
2.
Sensory: Of or pertaining to the senses or sensations.
3.
Tactile: Of, pertaining to, endowed with, or affecting the sense of touch.
Perceptible to the touch; capable of being touched; tangible.
4.
Auditory: Of or pertaining to hearing, to the sense of hearing, or to the organs
of hearing. Perceived through or resulting from the sense of hearing.
5.
Dimension: Extension in a single line or direction as length, breadth and
thickness or depth. A line has one dimension, length. A plane has two
dimensions, length and breadth. A solid or cube has three dimensions, length,
breadth and thickness.
C.
Site Requirements:
Sites
for Stage II training are selected for their pronounced manifestation of
sensory information. Examples: sewage treatment plant, airport, pulp mill,
botanical garden, chocolate factory, steel mill, amusement park, etc.
D.
Clusters:
Stage
II responses tend to come in groups or "clusters" of words--usually
3-4 words, though sometimes more--pertaining to different aspects or gestalts
of the site. If for example a body of water and an area of land are present at
the site, a group of sensory Stage II words might be produced by the viewer
relating to the land, then another group relating to the water. This is
particularly noticeable in sites whose ideograms product two or more
"A" and "B" components. Stage IIs will tend to cluster in
respect to the "A" and "B" components to which they relate.
Stage II responses cluster in another sense as well. Frequently, types of
sensory responses will come together. For example two or three tastes, smells,
colors, or textures may cluster together as the viewer objectifies his
perceptions on the paper.
E.
"Basic" Words:
True
Stage IIs are generally simple, fundamental words dealing directly with a
sensory experience: i.e. rough, red, cold, stinging smell, sandy taste, soft,
moist, green, gritty, etc. When objectified words go beyond the
"basics" they are considered "out of structure" and
therefore unreliable.
F.
Aperture:
After a
proper Stage I Ideogram/A/B sequence has been executed, the aperture (which was
at its narrowest point during Stage I) opens to accommodate Stage II
information. Not only does this allow the more detailed sensory information to
pass through to the viewer, but it is accompanied by a correspondingly longer
signal "loiter" time--the information comes in more slowly, and is
less concentrated. Towards the end of Stage II, and approach the threshold of
Stage III, the aperture begins to expand even further, allowing the acquisition
of dimensionally related information. (see below.)
G.
Dimensionals:
As the
viewer proceeds through Stage II and approaches Stage III, the aperture widens,
allowing the viewer to shift from a global (gestalt) perspective, which is
paramount through Stage I and most of Stage II, to a perspective in which
certain limited dimensional characteristics are discernable.
"Dimensionals" are words produced by the viewer and written down in
structure to conceptualize perceived elements of this new dimensional
perspective he has now gained through the widening of the aperture. These words
demonstrate five dimensional concepts: vertical-ness, horizontal-ness,
angularity, space or volume, and mass. While at first glance the concept of
"mass" seems to be somewhat inappropriate to the dimensional concept,
mass in this case can be conceived in in dimensionally related terms as in a
sense being substance occupying a specific three dimensional area. Generally
received only in the latter portion of Stage II, dimensionals are usually very
basic--"tall," "wide," "long," "big."
More complex dimensionals such as "panoramic" are usually received at
later stages characterized by wider aperture openings. If these more complex
dimensionals are reported during Stage II they are considered "out of
structure" and therefore unreliable.
H.
AOL:
Analytic overlay is considerably more rare in Stage II than it is in Stage
I. Though it does occasionally occur, something about the extremely basic
sensory nature of the data bits being received strongly tends to avoid AOL.
Some suppositions suggest that the sensory data received comes across either at
a low enough energy level or through a channel that does not stimulate the
analytic portion of the mind to action. In effect, the mind is
"fooled" into thinking Stage II information is being obtained from
normal physical sensory sources. The combination of true sensory data received
in Stage II may produce a valid signal line "image" consisting of
colors, forms, and textures. Stage II visuals or other true signal line visuals
of the site may be distinguished from an AOL in that they are perceived as
fuzzy, indistinct and tending to fade in and out as one attempts to focus on
its constituent elements rather than the sharp, clear, static image present
with AOL.
I.
Aesthetic Impact (AI):
Aesthetic impact indicates a sudden and dramatic widening of the
aperture, and signals the transition from Stage II into Stage III. In normal
session structure, it occurs only after two or more dimensionals occur in the
signal line. On occasion, however, AI can occur more or less spontaneously in
Stage II, especially when a site is involved with very pronounced Stage II
elements, such as particularly noisome chemical plant. AIR is the viewer's
personal, emotional response to the site: "How the site makes you
feel." It can be a manifestation of sudden surprise, vertigo, revulsion, or
pleasure. Though some sites seem to consistently elicit similar AI responses in
any person who remote views them, it must still be borne in mind that an AI
response is keyed directly to the individual's own personality and
emotional/physical makeup, and that therefore AI responses can differ,
sometimes dramatically so, from viewer to viewer. AI will be more fully
discussed in the section of this paper dealing with Stage III.
J.
Drills/Exercises:
To
promote flexibility in producing Stage II responses, an exercise is usually
assigned viewer trainees. This consists of producing a list of at least sixty
sensory response type words, dealing with all the the possible categories of
sensory perceptions: tastes, sounds, smells, tactile experience, colors and
other elementary visuals, and magnetic/energetic experiences. When giving the
assignment, the trainer emphasizes reliance on "basic" words as
described above.
K.
Format:
Following is a sample Stage II format:
(FORMAT FOR STAGE II)
--------------------------------------------------------------------------------
Name
Date
Time
(Personal Inclemencies/Visuals Declared)
(STAGE I -
Coordinate) (Ideogram) A across angle up angle down
angle across angle down
solid
B Structures
(STAGE II -
Sensory Data) S2 white
warm
unclean smell
AI Break
Smells
Gross!
AOL Break
Smells like
dirty air
(STAGE I -
Coordinate) (Ideogram -
multiple) A
Up angle across angle down
Solid
B Structure
A Angle
across angle down
Solid
B Structure
A Flat
Hard
B Land
(STAGE II) S2 grey
white
rough
noisy
densely populated - S4 (note this
as Stage
IV, not II)
warm
smell of fumes
Confusion
Break
"Thud" or scraping sound.
Can't tell.
(Stage II - Dimensionals)
tall
[Note: this is the start
of
dimensionals]
high
solid
wide
A.
Concept:
As
Stage II progresses the aperture opens dramatically wider than was the case
with either Stage I or early Stage II. Dimensionals begin to emerge and the
threshold is reached for the transition into Stage III. The shift into full
Stage III is triggered by aesthetic impact (see below). It is after this point
that the true dimensionality of the site may begin to be expressed. This
differs from dimensional elements encountered previously, in that Stage II
dimensionals are individual aspects of the site, while Stage III dimensionality
is a composite of inherent site aspects. The concept of "the viewer's perspective"
must, however, be avoided because in Stage III the viewer has not yet reached
the point where complete comprehension and appreciation of the size, shape, and
dimensional composition of the overall site can be ascertained. Generally, the
viewer himself is not precisely aware of his own perceptual relationship to the
site and therefore not consciously aware of the true relationship of all the
dimensional components he is able to debrief from Stage III. As is discussed in
various sections below, he must rely on the various tools available in Stage
III to obtain and organize the increased information he is perceiving. Although
Stage III can provide a great deal of information about any given site, the
goal of Stage III is command of structure.
B.
Definitions:
1.
Aesthetic: Sensitivity of response to given site.
2.
Drawing: The act of representing something by line, etc.
3.
Idea: Mental conception; a vague impression; a hazy perception; a model or
archetype.
4. Impact: A striking together; changes,
moods, emotions, sometimes very gross, but may be very weak or very subtle.
5.
Mobility: The state or quality of being mobile.
6.
Motion: The act or process of moving.
7.
Perceptible: That which can be grasped mentally through the senses.
8.
Prompt: To incite to move or to action; move or inspire by suggestion.
9.
Rendering: Version; translation (often highly detailed).
10.
Sketch: To draw the general outline without much detail; to describe the
principle points (idea) of.
11. To
Track: To trace by means of vestiges, evidence, etc.; to follow with a line.
12.
Vision: One of the faculties of the sensorum, connected to the visual senses out
of which the brain constructs an image.
C.
Site Requirements:
A site
selected for Stage III would logically require significant dimensional
components. Locales such as bridges, monuments, airports, unusual natural
formations, etc. are useful Stage III sites.
D.
The Six Primary Dimensionals:
1.
Diagonal: Something that extends between two or more other things; a line
connecting two points of intersection of two lines of a figure.
2.
Horizontal: Parallel to the plane of the horizon.
3.
Mass: Extent of whatever forms a body--usually matter.
4.
Space: Distance interval or area between or within things. "Empty
distance."
5. Vertical:
Perpendicular to the plane of the horizon; highest point/lowest point (i.e.,
height or depth).
6.
Volume: A quantity; bulk; mass; or amount.
E.
Aesthetic Impact:
As the
aperture widens rapidly from Stage II, a virtual avalanche of site information
begins to impact on the viewer's unconscious. The cumulative effect of all this
detail is to trigger a subjective response from the viewer. This opening of the
aperture and subsequent subjective response is called Aesthetic Impact (AI) and
is the viewer's subjective emotional response to the site. It is best described
as "how the site makes the viewer feel." AI may immediately follow
two Stage II dimensional responses, but it will certainly follow three or more.
It may be experienced and expressed in a variety of ways. A simple exclamation
of "Wow!" may be the AI response when one is suddenly impressed by
the immensity of some natural formation, such as the Grand Canyon or Yosemite's
Half Dome. On the other hand, such a site might just as easily spark a feeling
of vertigo or fear of falling, or cause one to remark, ":This is really
tall (or deep)!". A pulp mill might trigger an AI reaction of revulsion
because of the nauseating smells. Or a comprehension of the grandeur or squalor
of a site might cause one to have a sudden appreciate of beauty or ugliness.
Other examples of AI might be claustrophobia, loneliness, fright, pleasantness,
relaxation, enjoyment, etc.
AI need
not be pronounced to be present; in fact, it may often be quite subtle and
difficult to recognize. It may sometimes be a sudden, mild cognitive
recognition of the abrupt change in perspective, or a slight surprise or
alteration of attitude about the site. Some viewers who in the past have had
little experience with direct contact with their emotions may have difficulty
recognizing that they experience AI, and may even be convinced it doesn't
happen to them. Such individuals must exercise a great deal of caution not to
sublimate or suppress AI recognition, and require additional exposure to AI to
help them learn to recognize and declare it appropriately.
The
monitor also has a role to play in helping the viewer to recognize AI. Body
language, eye movement, and specific speech patterns can all be cues to the
experienced monitor that AI is present. The monitor must draw the viewer's
attention to the existence of an undeclared AI when he observes the
"symptoms" of an AI unrecognized by the viewer.
It is
extremely important to properly recognize and declare (objectify) AI, since how
one deals with it can determine the entire course of the session from that
point on. The viewer may not work through AI. Aesthetic Impact must be
recognized, declared, and allowed to thoroughly dissipate. Should the viewer
err and attempt to work through AI, all information from that point on will be
colored by the subjective filter of the emotional experience encountered, and
AOL Drive and AOL "Peacocking" (discussed under AOL, below) can be
expected to arise.
AI is dealt with in the following manner.
Moving through Stage II, the viewer begins to debrief a cluster of two or more
basic dimensionals. He suddenly realizes that the aperture is expanding, and
that in conjunction he is having a subjective emotional reaction to the
site--whether pronounced or mild. He then states aloud as he objectifies on his
paper "AI Break." He then briefly says aloud and writes on the paper
what the AI is. Declarations can be everything from a simple "Wow!"
to "Disgusting!" to "I like this place" to
"Vertigo" to "I feel sick" to "This is boring" to
"I'm impressed by how tall this is" to "Absolutely
massive!". The viewer by taking this "AI Break" effectively
disengages himself temporarily from the signal line and allows the emotional
response to dissipate. The time required for this can vary from a few brief
seconds for a mild AI to hours for one that is especially emphatic.
It is
important to note that, though many sites elicit essentially the same response
in every individual who remote views it, each person is different than every
other and therefore under certain circumstances and with certain sites AI
responses may differ significantly from viewer to viewer. One example of this
that has frequently been related is a small sandy spit off of Cape Cod,
Massachusetts. One viewer, a highly gregarious woman who enjoys social
interactions, when given the site responded that it made her feel bleak,
lonesome, depressed, abandoned. On the other hand, a viewer who had spent a great
deal of his time in nature and away from large numbers of other humans
experienced the site as beautiful and refreshing. Since AI is subjective, such
variations are not unexpected, and under the right circumstances [are] usually
appropriate.
F.
Motion/Mobility:
Two
variations of the concept of movement are recognized as being available to the
viewer during Stage III. The first is the idea of motion at the site: an object
or objects at the site may be observed as they shift position or are displaced
from one location to another. For example, there may be automobile traffic
present, a train moving through the area, or whirling or reciprocating
machinery, etc.
"Mobility," the second movement concept, is the ability
possessed by the viewer in Stage III to shift his viewpoint to some extent from
point to point about the site, and from one perspective to another, i.e.,
further back, closer up, from above, or below, etc. This ability makes possible
the projection of trackers and sketches as described below. An additional
feature this introduces is the ability to shift focus of awareness from one
site to another using a polar coordinate concept. This is more fully explained
under Movement/Movement Exercises, which follows.
G.
Dimensional Expression on Paper:
1.
Sketches:
a.
Spontaneous sketches: With the expansion of the aperture and after dissipation
of AI, the viewer is prepared to make representations of the site dimensional aspects
with pen on paper. A sketch is a rapidly executed general idea of the site. In
some cases it may be high representational of the actual physical appearance of
the site, yet in other cases only portions of the site appear. The observed
accuracy or aesthetic qualities of a sketch are not particularly important. The
main function of the sketch is to stimulate further intimate contact with the
signal line while continuing to aid in the suppression of the viewer's
subjective analytic mental functionings. Sketches are distinguished from
drawings by the convention that drawings are more deliberate, detailed
representations and are therefore subject to far greater analytic (and
therefore AOL-producing) interpretation in their execution.
b.
Analytic Sketches: Analytic sketches are produced using a very carefully
controlled analytic process usually employed only when a satisfactory
spontaneous sketch as described above is not successfully obtained. An analytic
sketch is obtained by first listing all dimensional responses obtained in the
session, including those contained in the "A" components of the
various Coordinate/I/A/B prompting sequences, in the order and frequency they
manifest themselves on the session transcript. Each of these dimensional elements
apparently manifests itself in order of its importance to the gestalt of which
it is a part. So, for example, if in the first "A" component of the
session one encounters "across, rising," thee two would head the
list, and their approximate placement on the paper will be determined by the
viewer before any other. A second list is then compiled, listing all secondary
attributes of the site. Finally, a list may be made if desired of any
significant "details" that do not fit into the previous two categories.
In
analytic sketching the intuitive part of the viewer's apparatus is not shut
off. He must continue to attempt to "feel" the proper placement of
the dimensional elements of the site. In fact, the purpose of this approach to
sketching is to "re-ignite" the viewer's intuition. As each element
on the primary list is taken in order, the viewer must "feel" the
proper position for that element in relation to the others. If the dimensional
element "round" is listed, it must be determined how a rounded
element fits in with "across," "rising," "flat,"
"wide," "long," and any other dimensional elements that may
have preceded it. When elements from the primary list are exhausted, the viewer
may duplicate the process with those from the secondary list. If necessary and
desirable, the viewer may proceed to the details list and assign them their
appropriate locations.
2.
Trackers: Stage III contact with the site may
on occasion produce an effect known as a tracker. This is executed by a series
of closely spaced dots or dashed lines made by pen on paper, and describes a
contour, profile, or other dimensional aspect of the site. Trackers are formed
in a relatively slow and methodical manner. The viewer holds pen in hand,
lifting it off the paper between each mark made, thereby allowing the autonomic
nervous system, through which the signal line is being channeled, to determine
the placement of each successive mark. While constructing a tracker, it is
possible for the viewer to spontaneously change from executive the tracker to
executing a sketch, and back again.
3.
Spontaneous Ideograms: At any point in the
sketch/tracker process, an ideogram may spontaneously occur. This most probably
relates to a sub-gestalt of the site, and should be treated like any other
ideogram. It will produce "A" and "B" components, Stage
IIs, and so forth. Because of the possibility for the occurrence of these
spontaneous ideograms with their potential for conveying additional important
site information, viewers are strongly counseled to always keep their pen on
paper to the greatest extent practical.
H.
Movement/Movement Exercises:
An
outgrowth of the viewer mobility concept involves the ability of the viewer to
shift his focus from one site to other sites using a polar coordinate concept.
This is often termed a "movement" or "movement exercise,"
and is executed thusly. The viewer is given the coordinates for the base site,
and the session proceeds as normal: I/A/B, Stage IIs, dimensionals, AI to Stage
III sketches/trackers. When the monitor is confident that the viewer has
successfully locked onto this primary site, he tells the viewer to
"prepare for movement." The viewer accordingly places his pen on the
left side of the paper, indicating he is ready for a new prompting coordinate
as per convention. The monitor then tells the viewer to acquire the central
site. The viewer responds with a very brief, few-word description of the base
site, whereupon the monitor gives a prompting statement in lieu of the usual
geographic coordinate. This statement includes a distance and direction from
the base site, and is couched in words as neutral, passive and non-suggestive
(therefore less AOL-inducing) as possible.
By way
of example, let us assume that the base site is a large grey structure, and the
secondary site to which the viewer's focus is to be moved is 8 1/2 miles
northwest of the base site. The monitor will say "Acquire the site,"
to which the viewer responds approximately, "A large grey structure."
The monitor then says "8 1/2 miles (to the) northwest something should be
visible." Just as he would a geographic coordinate, the viewer objectifies
this phrase by writing it down, places his pen on the paper to receive the
ideogram, and progresses from there just as if he were processing any other new
site.
Note,
however, the very neutral way the monitor provided the prompting. He avoided
such leading words as, "What do you see 8 1/2 miles northwest?" or
"You should be able to see (hear/feel/smell) something 8 1/2 miles
northwest." Observe also that "motion words" ("move,"
"shift," "go," etc.) were also avoided. Words and
phraseology of either type tends to cause the viewer to take an active role,
directly attempting to perceive the site instead of letting the signal line
bring the information to him. This sort of active involvement greatly
encourages the development of AOL and other mental noise effects.
Instead, the passive wording used by the monitor stimulates the analytic
component of the mind as little as possible, allowing uncontaminated signal
line data to be received. Examples of acceptable passively framed words
relating to sensory involvement are: "should be visible,"
"hearable," "smellable," "feelable,"
"tasteable," etc. In earlier stages sensory-based wording would have
been avoided as a catalyst to AOL. With the widened aperture in Stage III,
however it may be used successfully.
This
movement technique may be used any number of times, starting either from the original
base site, or from one of the other subsequent sites to which the viewer's
perception has been "moved."
I.
Analytic Overlay (AOL) in Stage III:
1.
AOL Matching: With the expansion in aperture
inherent in Stage III, and after appropriate AI, the AOL phenomenon develops to
where a viewer's AOL may match or nearly match the actual signal line
impression of the site. For example, if the site were Westminster Abbey, the
viewer might produce the AOL of Notre Dame cathedral. Or he might even actually
get an image of Westminster Abbey that nevertheless fills all the criteria for
an AOL. According to theory, the matching AOL is superimposed over the true
signal line. It is however possible with practice to distinguish the vague
parameters of the true signal line "behind" the bright, distinct, but
somewhat translucent image of the AOL. The viewer must become proficient at
"seeing through" the AOL to the signal line. Use of "seeing
through" here must not be taken to imply any visual image in the accepted
sense of the word, but rather as a metaphor best describing the perceptory
effect that manifests itself.
2.
AOL Drive: Although mentioned before, AOL
Drive becomes a serious concern beginning in Stage III. It occurs when the
viewer's system is caught up in an AOL to the extent that the viewer at least
temporarily believes he is on the signal line, even though he is not. When two
or more similar AOLs are observed in close proximity, AOL drive should be
suspected. AOL drive is indicated by one or more of the following: repeating
signals; signal line ending in blackness; peculiar (for that particular viewer)
participation in the signal line; and/or peacocking. Causes for AOL drive
include accepting a false "B" component in Stage I; or accepting a
false sketch or undeclared AOL in Stage III. Undeclared AOLs can spawn AOL
drive in all other stages beyond Stage III as well. Once it is realized that
AOL drive is present, the viewer should take an "AOL/D Break" (as
discussed under STRUCTURE), then review his data to determine at what point he
accepted the AOL as legitimate data. After a sufficient break the viewer should
resume the session with the data obtained before the AOL drive began. Listed
below are two subspecies of AOL drive.
a. Ratcheting: The recurrence of the same
AOL over and over again as if trapped in a feedback loop.
b.
AOL "Peacocking": The rapid unfolding, one right after another, of a
series of brilliant AOLs, each building from one before, analogous to the
unfolding of a peacock's tail.
J.
Format:
Following is a sample Stage III format:
(FORMAT FOR STAGE III)
--------------------------------------------------------------------------------
Name
Date
Time
(Personal Inclemencies/Visuals Declared)
(STAGE I -
Coordinate) (Ideogram) A Rising
Angles Across
Solid
B Structures
(STAGE II -
Sensory Data) S2 grey
white
rough
gritty texture
noisy
mixture of sounds
warm
moist
smell of fumes
unclean smell
hazy
tall
(beginning of
dimensionals leading to AI
and Stage III
sketching/tracking)
wide
long
huge
AI BREAK
Wow! I'm dizzy!
(Stage III) (SKETCH OR TRACKER)
A.
Concept:
With
the successful accomplishment of Stage III, the viewer has become subject to an
enormous flood of information available from the site. Previously, such a flow
of data would have been overwhelming, and those circumstances in Stages I
through III in which the viewer found himself so inundated would have required
the taking of a "Too Much Break." At this point, however, it becomes
both possible and necessary to
1)
establish a systemic structure to provide for the orderly, consistent management
of the volumes of information that may be obtained, and
2) facilitate and guide the viewer's focusing
of perceptions on ever finer and finer detail of the site. This is accomplished
through the use of an information matrix which is illustrated below. Stage IV
is a refinement and expansion of the previous structure to facilitate more
complete and detailed decoding of the signal line.
B.
Definitions:
Most of
the terms used in a Stage IV matrix have been defined previously. Those that
have not are explained as follows:
1.
Emotional Impact: The perceived emotions or feelings of the people at the site
or of the viewer. Sometimes the site itself possesses an element of emotional
impact, which is imprinted with long or powerful associations with human
emotional response.
2. Tangibles: Objects or characteristics
at the site which have solid, "touchable" impact on the perceptions
of the viewer, i.e., tables, chairs, tanks, liquids, trees, buildings, intense
smells, noises, colors, temperatures, machinery, etc.
3. Intangibles: Qualities of the site that
are perhaps abstract or not specifically defined by tangible aspects of the
site, such as purposes, non-physical qualities, categorizations, etc.; i.e.,
"governmental," "foreign," "medical,"
"church," "administrative," "business,"
"data-processing," "museum," "library," etc.
4.
AOL/S: Virtually synonymous with the previously considered term "AOL
Matching," AOL/Signal occurs when an AOL produced by the viewer's analytic
mental machinery almost exactly matches the site, and the viewer can to some
extent "look" through the AOL image to perceive the actual site. The
advantage of AOL/S in Stage IV is that it allows the information to be used
without calling a break. One can ask, "What is this trying to tell me
about the site?" As an example, the viewer may perceive the Verazzano
Narrows Bridge when in fact the site is actually the George Washington Bridge.
5.
Dimensionals: "Dimensionals" have an even broader meaning here than
in Stage III. In Stage IV, more detailed and complex dimensionals can be
expected and are now considered to be in structure and therefore more reliable.
"Spired," "twisted," "edged,"
"partitioned," etc. are only a few examples.
C.
Stage IV Matrix:
To
provide the necessary structure for coherent management of this information,
matrix column headings are constructed across the top of the paper thusly:
S-2 D AI EI T I AOL AOL/S
These headings stand for the following:
1. S-2: Stage II information (sensory data).
2. D: Dimensionals.
3. AI: Aesthetic Impact.
4. EI: Emotional Impact.
5. T: Tangibles.
6. I: Intangibles.
7. AOL: Analytic Overlay.
8. AOL/S: AOL/Signal.
D.
Session Format and Mechanics:
As the viewer
produces Stage IV responses (generally single words that describe the concepts
received via the signal line) they are entered in the matrix under their
appropriate categories. The matrix is filled in left to right, going from the
more sense-based Stage IIs and dimensional towards the ever more refined
information to the right, and top to bottom, following the natural flow of the
signal line. Stage IV information, similar to that of Stage II, comes to the
viewer in clusters. Some particular aspect of the site will manifest itself,
and the sub-elements pertaining to that aspect will occur relatively rapidly to
the viewer in the general right-to-left and top-to-bottom pattern just
described. Some degree of vertical spacing can be expected between such clusters,
an indication that each of these clusters represents a specific portion of the
site.
Entries
in a properly filled-in matrix will tend to move slantwise down the page from
the upper left to lower right with some amount of moving back and forth from
column to column. Stage IIs and dimensionals retain their importance in site
definition, while AOLs and AIs, once they have been recognized and objectified
as such, so not require a major interruption in the flow of the signal line as
was the case in previous stages. In fact, AOLs now frequently become closely
associated with the site and may lead directly to "AOL matching," or
AOL/Signal, as it is categorized in the matrix and described above. EI tends to
manifest itself comparatively more slowly than information in other categories.
If people are present, for example, EI pertaining to them may be effectively
retrieved by placing the pen in the EI column of the matrix. Several moments of
subsequent waiting may then be required for the signal to build and deliver its
available information. Tangibles will frequently produce immediate sketches or
ideograms, which lead to yet more intimate contact with the signal line.
Some
degree of control over the order of information retrieval from the signal line
can be exercised by the viewer, determined by which column he chooses to set
his pen to paper. This acts as a prompting mechanism to induce the signal line
to provide information pertinent to the column selected. For example, if more
intangibles relating to the site are desired, the pen may be placed in the
"I" column to induce the extraction of intangible information from
the signal line.
The
Stage IV process can be very rapid, and care must be taken to accurately decode
and record the data as it comes. However, if as sometimes happens the signal
flow should slow, it is recommended that resting the pen on paper in the
"EI" column may enhance retrieval of "EI" information,
which in turn may potentially stimulate further signal line activity and
acquisition.
E.
Format:
Following is a sample Stage III format:
(FORMAT FOR STAGE IV)
--------------------------------------------------------------------------------
Name
Date
Time
(Personal Inclemencies/Visuals Declared)
(STAGE I -
Coordinate) (Ideogram) A Rising
Angles Across
Downs Solid
B Structures
(STAGE II -
Sensory Data) S2 rough
smooth
gritty texture
grey
white
red
blue
yellow
orange
clean taste
mixture of smells
warm
bright
noisy
(STAGE II - Dimensionals)
tall
rounded
wide
long
open
AI BREAK
Interesting.
I like it here.
(Stage III)
[STAGE IV]
(SKETCH OR
TRACKER)
S-2 D AI EI T I AOL AOL/S
structures
rough
smooth
manmade
high
tall
wide
AI BREAK
This is neat!
doors
windows
colorful
parapets
building
[SKETCH]
foreign feeling
people
somber
serious
devoted
enthusiastic
secular
AOL
BREAK
A castle in a city
church
Notre Dame Cathedral
A.
Concept:
Stage V
is unique among the remote viewing stages thus far discussed in that it does
not rely on a direct link to the signal line to obtain the information
reported. Instead, data is derived through accessing the information already
available below the liminal threshold in the brain and autonomic nervous
system. This information is deposited in earlier stages when the signal line
passes through the system and "imprints" data on the brain by causing
cognitrons to form through the rearrangement of the brain's neuronal clusters
into the appropriate patterns, roughly analogous to what occurs in a computer's
memory storage when it receives a data dump.
Information "stored" in a cognitron can be accessed by a
certain prompting methodology. In normal brain functioning, cognitrons are
induced to deliver up the information they store through some stimulus
delivered by the brain, much in the same way as a capacitor in an electronic
circuit can be triggered to release its stored electric charge.
When
properly prompted, the information released consists of sub-elements which together
form the complete cognitron. For example, the concept "religious" may
be represented by one complete cognitron (cluster of neurons); each neuron
would store a sub-element of that cognitron. Hence, the cognitron for
"religious" could have neurons storing data for the following
elements: "quiet," "incense," "harmonious
chanting," "bowed heads," "robes,"
"candles," "dimly lit," "reverence,"
"worship," "respect," etc. If attention is paid to what
underlies the concept of "religious" as it is originally evoked in
Stage IV, the sub-elements, which may themselves provide valuable information
far beyond their collective meaning of "religious," may be broken out
and assembled. These sub-elements as they are brought forth in Stage V are
known as "emanations" ("emanate" literally defined means,
"to issue from a source, to flow forth, to emit, or to issue").
B.
Definitions:
1.
Objects: An object is a thing that can be seen or touched. "Objects"
can be understood as those physical items present at the site that helped cause
the cognitron to form in the viewer's mind and hence prompt his response of
"religious;" i.e., "robes," "candles,"
"incense," etc.
2.
Attributes: An attribute is a characteristic or quality of a person or thing.
"Attributes" applies to those characteristics of the site that
contributed to cognitron formation and the aforementioned viewer response:
"quiet," "dimly lit," "echoing,"
"large," etc.
3.
Subjects: "Subject" is defined as "something dealt with in a
discussion, study, etc.," "Subjects" are emanations that might
serve a nominative function in describing the site, or be abstract intangibles,
or they could be more specific terms dealing with function, purpose, nature,
activities, inhabitants, etc., of the site: in the above example,
"reverence," "worship," "respect,"
"harmonious chanting," etc.
4.
Topics: "Topic" is defined as "a subject of discourse or of a
treatise; a theme for discussion." Closely related to
"subjects," "topics" often prove to be sub-elements of one
or more of the subjects already listed, and frequently are quite specific:
"mass," "Catholic," "priest,"
"communion," and so forth. An interesting phenomenon to be here
considered is that just as one of the subjects encountered may produce several
topics, a topic itself may in turn be considered as a subject and produce
topics of its own. This construction appears to be very hierarchical and
"fractalized," with larger cognitrons being subdivided into smaller
ones, which in turn can be further divided, and so on. In fact, any emanation
thus "broken out," or "stage-fived" can itself often be
further "stage-fived," and subdivided into its own
object/attribute/subject/topic categories.
C.
Format and Structure:
Because extreme caution must be exercised
to avoid phrases or promptings that might either induce AOL or otherwise
unnecessarily engage the viewer's analytic mental processes, a sort of
"hypo-stimulative" type of referral system must be used to
"target" the viewer. This is accomplished by dividing the possible
types of emanations obtainable into four categories: objects, attributes,
subjects, and topics, then prompting the release of subliminally-held
information by saying and writing "Emanations," followed only by a
question mark.
In
actual execution, the Stage V format would look somewhat as follows:
religious
objects
emanations?
robes
candles
incense
religious
attributes
emanations?
quiet
dimly lit
echoing
large
religious
subjects
emanations?
worship
reverence
respect
harmonious chanting
religious
topics
emanations?
mass
Catholic
priest
communion
Note
the arrangement of the prompters. First is written the word or concept being broken
out. Directly under it is the particular category to be considered. Finally
comes the word "emanations," followed by a question mark. This
methodology was developed as the best means of directing a query into the
neural "data storage area" of the subconscious without inadvertent
"hinting," suggestion, or engagement of analytic processes. The word
"emanations" represents the sub-elements or component parts of the
"religious" cognitron which emerged from the subconscious as a
collective concept for these sub-elements. Because it possesses the combined
neural energy of the aforementioned components, during Stage IV the overall
cognitron-concept is able to pass into the conscious awareness of the viewer
with relative ease. The sub-elements themselves, however, have insufficient
impetus to individually break unaided through the Liminal barrier into the
consciousness of the viewer, and must intentionally be invoked through the
Stage V process.
It is
suspected that the most amount of information will probably be derived from
attribute or topic categories, though at times both object and subject headings
might provide significant volumes of information. If, as occasionally may
happen, all four categories are prompted and no responses result, it can be
supposed that one of two situations exist: the response being stage-fived is
either already at its lowest form, or it is really AOL.
D.
Implications:
The
value of Stage V is readily apparent. Though the sum total of the information
obtained quite validly might produce the overall cognitron of
"religious" in the context of an RV session, once rendered down to
its sub-elements and details the cognitron produces a wealth of additional
information of use to the analyst.
E.
Considerations:
The
process has a few peculiarities and a few cautions to observe. First, one must
be aware that not every cognitron necessarily produces responses for every
category, and in those that do, some categories are inevitably more heavily
represented than others. In general, the rule is that if the list of words that
the viewer produces under the particular category being processed does not flow
smoothly, regularly, rapidly, and with obvious spontaneity, the end of
accessible information has been reached. Therefore, if there is a pause after
the last word recorded of more than a few seconds, the end of the cluster has
probably been reached. On the other hand, if after the original prompting
nothing comes forth spontaneously, there are probably no accessible emanations
pertaining to the cognitron being processed in that category. For example, if
the viewer just sits with pen on paper, with nothing to objectify after the
viewer has written "religious," "topics" (or other category),
and "emanations?" then topic-type information was probably not
relevant to the formation of that cognitron. If such a situation should occur
either at the beginning of a category or at the end of one more productive, the
viewer should either on his own or with encouragement from the monitor declare
an end to that particular category and move on to the next. Usually, the viewer
is intuitively aware when more valid information remains to be retrieved and
when the end of a cluster has been reached. To sit too long waiting for more
information if none is readily available engages the analytic process and
encourages the generation of AOL.
The
viewer must also be aware that some responses might at one time or another
appear in any one or more of the category columns. One example frequently given
is "warm." Although one might consider this an attribute of some
object-related word, as a concept of temperature "warm" could just as
well show up in the Object column itself. "Electronic," on the other
hand, is unlikely to be an object, but could easily fit into attribute, subject
or topic columns.
F.
Switches:
The
"switch" is another issue that needs to be properly understood in
conjunction with the Stage V process. Sometimes, the viewer will be busily
recording a string of emanations under a particular category when suddenly
emanations from another category intrude. For example:
religious
objects
emanations?
robes
candles
hall
quiet
long
dimly lit
echoing...
Notice
that a few "object" words come through at first, to be replaced
spontaneously by words more appropriate to the "attribute" category.
This is known as a "switch"--a point in a Stage V chain where a
sudden switch is made from one category to another. There are several possible causes
for this. The first is that the viewer has in a sense skipped down a level in
detail, and proceeds to provide sub-elements of information for the last valid
item in the category--in the above example the words quiet, long, etc., are
attributes of "hall," instead of objects belonging to
"religious."
A
second possibility is that all emanations of a given category are exhausted
without the viewer being conscious of the fact, and emanations from another
category begin to intrude out of proper structure, as shown below:
robes
candles
soothing
dim
peaceful
decorated
Finally, it may be the case that no emanations of the proper type might
manifest themselves, but only intruders from another category, Such a situation
would indicate that no emanations of the sort that would be expected for the
prompted category are present, and that such emanations were obviously not
important in the formation of the cognitron being Stage-fived.
To deal
with a switch, one must task the system (after analyzing what has happened)
using an alternative category suggest by the trend in the data line. In other
words, if attributes are produced by the switch, one should shift to the
"attribute" category and re-prompt the word/cognitron under examination.
G.
AOL and Stage V:
Objects
and Attributes may be considered "objective elements," in that like
Stage IIs, these responses are much less likely to spark AOLs. Topics and
Subjects, on the other hand, are "subjective, informational
elements," and require special attention to avoid AOL contamination.
AOL too
may lend itself to being "stage-fived." It is axiomatic in this RV
theory system that analytic overlay is generally valid, site-related information
which the analytic centers of the brain have simply taken and
"embroidered" with memory associations and suggestive imagery. This
implies that accurate information can possibly be derived from an AOL through
the Stage V process. For the purposes of Stage V, these kernels of valid
site-information are called "prior emanations." The format for
"stage-fiving" AOLs is as follows:
AOL mosque
prior emanations?
large
assembly
religious decorations
singing
reverence
scriptures
clergy
When
prompting valid prior emanations from an AOL, it is important to indicate only
"AOL," and not say or write "AOL Break" as the viewer has
been conditioned to do in most other circumstances involving AOL, since the
word "break" is intended both to disengage the viewer from the signal
line and to inform the viewer's system that the material occasioning the
"break" was not desirable.
The
prior emanations that result from "stage-fiving" an AOL tend to be a
mixture of the four Stave V categories, selected words of which could
presumably further be "stage-fived."
Finally, when normal AOL is encountered in the course of a Stage V
cluster, which it sometimes is, it should be declared according to the normal
practice, and the category re-prompted. If deemed appropriate, such AOL could
no doubt also be subjected to Stage V reduction.
H.
Format:
A
sample format for Stage V follows:
(FORMAT FOR STAGE V)
--------------------------------------------------------------------------------
Name
Date
Time
(Personal Inclemencies/Visuals Declared)
(STAGE I -
Coordinate) (Ideogram) A Rising
Angles Across
Downs Solid
B Structures
(STAGE II -
Sensory Data) S2 rough
smooth
gritty texture
grey
white
red
blue
yellow
orange
clean taste
mixture of smells
warm
bright
noisy
(STAGE II - Dimensionals)
tall
rounded
wide
long
open
AI BREAK
Interesting.
I like it here.
(Stage III)
[STAGE IV]
(SKETCH OR
TRACKER)
S-2 D AI EI T I AOL AOL/S
structure
rough
smooth
manmade
high
tall
wide
AI BREAK
This is neat!
doors
windows
colorful
parapets
building
[SKETCH]
foreign feeling
people
somber
serious
devoted
enthusiastic
secular
AOL
BREAK
A castle in a city
church
(STAGE V)
religious
objects
emanations?
robes
candles
incense
religious
attributes
emanations?
quiet
dimly lit
echoing
large
religious
subjects
emanations?
worship
reverence
respect
harmonious chanting
religious
topics
emanations?
mass
Catholic
priest
communion
.
AOL mosque
prior emanations?
large
assembly
religious decorations
singing
reverence
scriptures
clergy
A.
Concept:
Stage
VI involves the three-dimensional modeling of the site. As such, it is in a
sense the continuation of expression of the site's physical characteristics
begun in Stage III. Stage VI modeling is a kinesthetic activity which appears
to both quench the desire to produce AOL and act as a prompt to produce further
information relating to the site--including not just the physical aspects being
modeled, but other elements not directly associated with the modeling itself.
B.
Functions of Modeling:
Stage
VI, modeling, has two functions:
1.
Kinesthetic interaction with the site by describing the site with 3-dimensional
materials, which facilitates the assessment of relative temporal* and spatial
dimensional elements of the site, and;
2.
Kinesthetic interaction with the site which effectively lowers the liminal
threshold of the viewer by narrowing the RVer's attention field to specific
locales (time/space). (Kinesthetic activity is space/time activity, such as
moving an object from point A to point B. Not only has the object moved in
space, it has also taken time to make the move. Everything in the physical
universe is because of kinesthetic activity.)
* NOTE: An example of relative temporal assessment
would be describing a site as being contemporary and modern, with an old world
ambience, which the people of today visit to understand the past.
C.
RV Modality:
There
are two types of kinesthetic activities in remote viewing--the detect mode and
the decode mode. The detect mode includes those behaviors that act as
progressively engineered stimuli to the RVer, which in Stage I involves writing
the coordinate and in Stage III involves the rendering of a sketch, drawing, or
tracker. In Stage VI this mode is represented by 3-dimensional model
constructing. Decode kinesthetics, on the other hand, are objectifications
which act as responses to the stimuli of the detect mode. Representing the
decode mode are the Stage I ideogram, Stage II basics, Stage III dimensionals,
the Stage IV matrix, and the Stage VI matrix, all of which are produced from
the signal line. Stage V is neither detect nor decode as Stage V information comes
from cognitrons formed subconsciously rather than from the signal line.
D.
Discussion:
According to theory, as the viewer proceeds through the earlier Stages,
his contact with the site is enhanced in quality and increased in extent. Stage
VI involves the viewer in direct 3-dimensional modeling and assessment of the
site and/or the relationship of Site "T" elements, one to another.
Stage
VI may be engaged at several different junctures: after completion of Stage IV
and/or Stage V. It can also be entered when Stage IV has stabilized,
appropriate AI has been encountered and dealt with, and the viewer has become
localized on a specific aspect of the site. Because Stage IV data is collected
by "winking" around the site, thereby providing incongruent
information, the stabilization/localization must occur prior to Stage VI. After
the Stage IV "T" has been modeled, the session can proceed moving to
Stage V or be continuing further with Stage VI.
E.
Session Mechanics:
As soon
as the decision is made to proceed into Stage VI the viewer places in front of
him the modeling material (usually clay) that has been kept nearby since the
start of the session. At the same time, he also takes a blank piece of paper
and writes a Stage VI Matrix on it. As the viewer proceeds to manipulate the
modeling material into the form(s), dimensions, and relationships that
"feel" right to him, he maintains as his concentrated effort the
perception of the site details that are freed to emerge into his consciousness
by the kinesthetic experience of the modeling process. These site data are
recorded in their appropriate columns on the matrix as the Stage VI portion of
the session continues.
1. Matrix:
The Stage VI Matrix is identical in form to the Stage IV Matrix:
S-2 D AI EI T I AOL AOL/S
However, it is labeled "Stage VI" for both
record keeping purposes and because that matrix pertains to a specific locale
in time/space and not the entire site.
2.
Considerations: In practice, the viewer constructs the Stage VI Matrix, sets it
aside, constructs a 3-dimensional model of Stage IV "T's," and
records information perceived from the signal line. During the modeling
process, the viewer must:
a)
Focus his awareness on the signal line (not the model) and the information
which will begin to slow as the model is constructed, and;
b)
Objectify that information within the prepared Stage VI Matrix. The viewer must
keep in mind that the model does not have to be a precise or accurate
rendering. It is the objectified information resulting from the modeling that
is IMPORTANT.
F.
Format:
Following is the format for a typical Stage VI session:
(FORMAT FOR STAGE VI)
--------------------------------------------------------------------------------
Name
Date
Time
(Personal Inclemencies/Visuals Declared)
(STAGE I -
Coordinate) (Ideogram) A Rising
Angles Across
Downs Solid
B Structures
(STAGE II -
Sensory Data) S2 rough
smooth
gritty texture
grey
white
red
blue
yellow
orange
clean taste
mixture of smells
warm
bright
noisy
(STAGE II - Dimensionals)
tall
rounded
wide
long
open
AI BREAK
Interesting.
I like it here.
(Stage III)
[STAGE IV]
(SKETCH OR
TRACKER)
S-2 D AI EI T I AOL AOL/S
structure
rough
smooth
manmade
high
tall
wide
AI BREAK
This is neat!
doors
windows
colorful
parapets
building
[SKETCH]
foreign feeling
people
somber
serious
devoted
enthusiastic
secular
AOL
BREAK
A castle in a city
church
(STAGE V)
religious
objects
emanations?
robes
candles
incense
religious
attributes
emanations?
quiet
dimly lit
echoing
large
religious
subjects
emanations?
worship
reverence
respect
harmonious chanting
religious
topics
emanations?
mass
Catholic
priest
communion
.
AOL mosque
prior emanations?
large
assembly
religious decorations
singing
reverence
scriptures
clergy
(STAGE VI - this matrix is filled in while viewer is
constructing the model)
STAGE VI
S-2 D AI EI T I AOL AOL/S
church
hand-hewn stones
grey
rough
very
large
very
old
war damaged
monument
dreary
climate
international
feeling
rubble
separate structure
tall
straight
rectangular
high
wide
AI BREAK
This is really neat!
It feels very familiar.
modern
same purpose as other structure
church
New church and old church are the same
cosmopolitan atmosphere
war atrocities
* Viewer's Summary: Site is composed of two churches.
One church, which is old and made of hand-hewn stones, has been damaged by war.
There is a lot of rubble around it. The new church is very modern in design.
Both are located in an area with a cosmopolitan atmosphere and an international
flavor. The older church as been left as a monument to remind the people of
today of the war atrocities of the past. The new church now serves the same
purpose as the older church did at one time--a house of worship.
* NOTE: At the end of a session, the viewer will often
produce a short summary of the data contained in session structure as an aid in
tying together the information derived from the signal line.
FEEDBACK NOTE: Site is the new Kaiser Wilhelm Church
and the war-torn older Kaiser Wilhelm Church, which are side-by-side in Berlin,
Germany. The older church, demolished by bombing during World War II, has been
left to stand as a monument and a reminder to all who visit.
STRUCTURE
A.
Concept:
"Structure" is a singularly important element in remote
viewing theory. The word "structure" signifies the orderly process of
proceeding from general to specific in accessing the signal line, of
objectifying in proper sequence all data bits and RV-related subjective
phenomena (i.e.g, see aesthetic impact as discussed in STAGE III), and rigorous
extraction of AOL from the viewer's system by conscientious objectification.
Structure is executed in a formal ordered format sequence using pen and paper.
A sample format will be provided as each stage is discussed in turn, since
different elements are used in each.
B.
Definitions and Discussion:
1.
Inclemencies: Personal considerations that
might degrade or even preclude psychic functioning. Muscle pains, colds,
allergies, menstrual cramps, hangovers, mental and emotional stress, etc.,
could cause increased difficulty to the viewer in accessing the signal line,
but could be "worked through," and ultimately are only minor
nuisances. Only hunger and a pressing need to eliminate body wastes cause the
system to totally not function. It is important, though, that the viewer identify
and declare any inclemencies either at the first of the session or as they are
recognized, since unattended agendas such as these can color or distort the
viewer's functioning if not eliminated from the system through objectification
(see below). Preferably, the monitor will ask the viewer if he has any personal
inclemencies even before the first iteration of the coordinate so as to purge
the system as much as possible before beginning the session proper.
There
is evidence that an additional category of inclemencies exist, which we might
refer to as environmental inclemencies. Extremely low frequency (ELF)
electromagnetic radiation may have a major role in this. Experience and certain
research suggests that changes in the Earth's geomagnetic field--normally
brought about by solar storms, or "sunspots," may degrade the remote
viewer's system, or actually cause it to cease functioning effectively
altogether. On-going research projects are attempting to discover the true
relationship, if any, between solar storms, ELF, and human psychic functioning.
2.
Objectification: The act of physically saying
out loud and writing down information. In this methodology, objectification
serves several important functions. First, it allows the information derived
from the signal line to be recorded and expelled from the system, freeing the
viewer to receive further information and become better in tune with the signal
line. Secondly, it makes the system independently aware that its contributions
have been acknowledged and recorded. Thirdly, it allows re-input of the
information into the system as necessary for further prompting. In effect,
objectification "gives reality" to the signal line and the
information it conveys. Finally, objectification allows non-signal line derived
material (inclemencies, AOLs, etc.) that might otherwise clutter the system and
mask valid signal line data to be expelled.
3.
I/A/B Sequence: The core of all CRV
structure, the "I/A/B" sequence is the fundamental element of Stage I,
which is itself in turn the foundation for site acquisition and further site
detection and decoding in subsequent CRV stages. The sequence is composed of an
ideogram (the "I"), which is a spontaneous graphic representation of
the site's major gestalt; the "A" component or
"feeling/motion" involved in the ideogram; and the "B"
component, or first analytic response to the signal line. (A full discussion
may be found in the Stage I section below.)
4.
Feedback: Those responses provided during the
session to the viewer to indicate if he has detected and properly decoded
site-relevant information; or, information provided at some point after
completion of the RV session or project to "close the loop" as it
were, providing the viewer with closure as to the site accessed and allowing
him to assess the quality of his performance more accurately.
In-session feedback, with which we will be here most concerned, is
usually only used extensively in earlier stages of the training process, and
has several interconnected functions. The very nature of the RV phenomena makes
it often only rather tenuously accessible to one's physically-based
perceptions, and therefore difficult to recognize. Feedback is provided after
correct responses to enable the viewer to immediately identify those
perceptions which produced the correct response and associate them with proper
psychic behavior. Secondly, it serves to develop much-needed viewer confidence
by immediately rewarding the viewer and letting him know that he is being
successful. Finally, it helps keep the viewer on the proper course and
connected with the signal line, preventing him from falling into AOL drive and
wandering off on a tangent.
a.
Correct (abbreviated "C"): The data bit presented by the trainee
viewer is assessed by the monitor to be a true component of the site.
b.
Probably Correct ("PC"): Data presented cannot be fully assessed by
the monitor as being accurate site information, but it would be reasonable to assume
because of its nature that the information is valid for the site.
c.
Near Site ("N"): Data objectified by the viewer are elements of
objects or locations near the site.
d.
Can't Feed Back ("CFB"): Monitor has insufficient feedback
information to evaluate data produced by the viewer.
e.
Site ("S"): Tells the former that he has successfully acquired and
debriefed the site. In elementary training sessions, this usually signifies the
termination of the session. At later stages, when further information remains
to be derived from the site, the session may continue on beyond full
acquisition of the site.
f.
Silence: When information objectified by the trainee viewer is patently
incorrect, the monitor simply remains silent, which the viewer may freely
interpret as an incorrect response.
In
line with the learning theory upon which this system is based, the intent is to
avoid reinforcing any negative behavior or response. Therefore, there is no feedback
for an incorrect response; and any other feedback information is strictly
limited to those as defined above.
It
should be noted here that the above refers to earlier stages of the training
process. Later stages do away with in-session feedback to the viewer, and at
even later stages the monitor himself is denied access to any site information
or feedback until the session is over.
5.
Self-Correcting Characteristic: The tendency
of the ideogram to re-present itself if improperly or incompletely decoded. If
at the iteration of the coordinate an ideogram is produced and then decoded
with the wrong "A" & "B" components, or not completely
decoded, upon the next iteration of the coordinate the same ideogram will
appear, thereby informing the viewer that he has made an error somewhere in the
procedure. On rare occasions, the ideogram will be re-presented even when it
has been properly decoded. This almost inevitably occurs if the site is
extremely uniform, such as the middle of an ocean, a sandy desert, glacier,
etc., where nothing else but one single aspect is present.
6.
AOL ("Analytic Overlay"): The
analytic response of the viewer's mind to signal line input. An AOL is usually
wrong, especially in early stages, but often does possess valid elements of the
site[5] that are contained in the signal line; hence, a light house may produce
an AOL of "factory chimney" because of its tall, cylindrical shape.
AOLs may be recognized in several ways. First, if there is a comparator present
("it looks like...", "it's sort of...", etc.) the
information present will almost inevitably be an AOL, and should always be
treated as one. Secondly, a mental image that is sharp, clear, and static--that
is, there is no motion present in it, and in fact it appears virtually to be a
mental photograph of the site--is also certainly AOL. Hesitation in production
of the "B" component in Stage I coordinate remote viewing, or a
response that is out of structure anywhere in the system[7] are also generally sure
indicators that AOL is present. Finally, the monitor or viewer can frequently
detect AOL by the inflection of the viewer's voice or other micro behaviors.[8]
Data delivered as a question rather than a statement should be recognized as
usually being AOL.
AOLs
are dealt with by declaring/objectifying them as soon as they are recognized,
and writing "AOL Break" on the right side of the paper, then writing
a brief description of the AOL immediately under that. This serves to
acknowledge to the viewer's system that the AOL has been recognized and duly
recorded and that it is not what is desired, thereby purging the system of
unwanted noise and debris and allowing the signal line in its purity to be
acquired and decoded properly.
7.
Breaks: The mechanism developed to allow the
system*** to be put on "hold," providing the opportunity to flush out
AOLs, deal with temporary inclemencies, or make system adjustments, allowing a
fresh start with new momentum. There are seven types of breaks:
--------------------------------------------------------------------------------
*** NOTE: When the word "system" is used
without qualifiers such as "autonomic," etc., it refers in a general
sense to all the integrated and integrative biological (and perhaps
metaphysical as well) elements and components of the viewer himself which
enable him to function in this mode known as "remote viewing."
--------------------------------------------------------------------------------
a. AOL
Break: As mentioned above, allows the signal line to be put on hold while AOL
is expelled from the system.[9]
b.
Confusion Break (often, "Conf Bk"): When the viewer becomes confused
by events in his environment or information in the signal line to the degree
that impressions he is receiving are hopelessly entangled, a Confusion Break is
called. Whatever time necessary is allowed for the confusion to dissipate, and
when necessary the cause for confusion is declared much like it is done with AOL.
The RV process is then resumed with an iteration of the coordinate.
c.
Too Much Break ("TM Break"): When too much information is provided by
the signal line all at once for the viewer to handle, a "Too Much
Break" is called and written down (objectified), telling the system to
slow down and supply information in order of importance. After the overload is
dissipated, the viewer may resume from the break, normally with the reiteration
of the coordinates. A too much break is often indicated by an overly elaborate
ideogram or ideograms.
d.
Aesthetic Impact Break ("AI Break"): Will be discussed in conjunction
with Stage III.
e.
AOL Drive Break (AOL-D Bk): This type of break becomes necessary when an AOL or
related AOLs have overpowered the system and are "driving" the
process (as evidenced by the recurrence of a specific AOL two or more times),
producing nothing but spurious information. Once the AOL-Drive is objectified,
the break time taken will usually need to be longer than that for a normal AOL
to allow the viewer to fully break contact and allow to dissipate the
objectionable analytic loop.
f.
Bi-location Break (Bilo Bk): When the viewer perceives he is too much absorbed
in and transferred to the site and cannot therefore appropriately debrief and
objectify site information, or that he is too aware of and contained within the
here-and-now of the remote viewing room, only weakly connected with the signal
line, a Bilo break must be declared and objectified to allow the viewer to back
out, and then get properly recoupled with the signal line again.
g.
Break (Break): If at any point in the system the viewer must take a break that
does not fit into any of the other categories, a "Break" is declared.
It has been recommended that a break not be taken if the signal line is coming
through strong and clear. If the break is extensive--say for twenty minutes or
more, it is appropriate to objectify "Resume" and the time at the
point of resumption.
The viewer declares a break by
objectifying "AOL Break," "AI Break," "Bilo
Break," etc., as appropriate, usually in the right hand margin of the
paper. Immediately underneath he briefly objectifies in one or a few words the
cause or content of what occasioned the necessity for a break.
C.
Summary:
Structure is the key to usable RV technology. It is through proper
structure-discipline that mental noise is suppressed and signal line
information allowed to emerge cleanly. As expressed by one early student,
"Structure! Content be damned!" is the universal motto of the remote
viewer. As long as proper structure is maintained, information obtained may be
relied on.[14] If the viewer starts speculating about content--wondering "what
it is"--he will begin to depart from proper structure and AOL will
inevitably result. One of the primary duties of both monitor and viewer is to
insure the viewer maintains proper structure, taking information in the correct
sequence, at the correct stage, and in the proper manner.[15]
A.
Concept:
As will
be explained in greater detail below, remote viewing theory postulates a
non-material "Matrix" in which any and all information about any
person, place or thing may be obtained through the agency of a hypothesized
"signal line." The viewer psychically perceives and decodes this
signal line and objectifies the information so obtained.
A
remote viewing session consists of both the interaction of a remote viewer with
the signal line, and the interaction between the viewer and the monitor. The
monitor and viewer are generally seated at opposite ends of a table. The viewer
has a pen and plenty of paper in front of him. The monitor observes the viewer,
and determines when the viewer is ready to begin when the viewer places his pen
on the left side of the paper in preparation to record the coordinates. The
monitor then reads the coordinate, the viewer writes it, and the session
proceeds from that point according to theory and methodology as discussed at
length below.
B.
Definitions:
1.
Matrix: Something within which something else
originates or takes form or develops. A place or point of origin or growth.
2.
Signal: Something that incites into action; an
immediate cause or impulse. In radio propagation theory, the carrier wave that
is received by the radio or radar receiving set.
3.
Signal Line: The hypothesized train of
signals emanating from the Matrix (discussed below) and perceived by the remote
viewer, which transports the information obtained through the remote viewing
process.
4.
Wave: A disturbance or variation that
transfers itself and energy progressively from point to point in a medium or in
space in such a way that each particle or element influences the adjacent ones
and that may be in the form of an elastic deformation or of a variation of
level or pressure, of electric or magnetic intensity, of electric potential, or
of temperature.
5.
Aperture: An opening or open space; hole,
gap, cleft, chasm, slit. In radar, the electronic gate that controls the width
and dispersion pattern of the radiating signal or wave.
6.
Gestalt: A unified whole; a configuration,
pattern, or organized field having specific properties that cannot be derived
from the summation of its component parts.
7.
Evoking: (Evoke: "to call forth or up;
to summon; to call forth a response; elicit.") Iteration of the coordinate
or alternate prompting method is the mechanism which "evokes" the
signal line, calling it up, causing it to impinge on the autonomic nervous
system and unconsciousness for transmittal through the viewer and on to
objectification (discussed at length in STRUCTURE).
8.
Coding/Encoding/Decoding: The information
conveyed on the signal line is "encoded," that is translated into an
information system (a code) allowing data to be "transmitted" by the
signal line. Upon receiving the signal, the viewer must "decode" this
information through proper structure to make it accessible. This concept is
very similar to radio propagation theory, in which the main carrier signal is
modulated to convey the desired information.
C.
Discussion:
The
Matrix has been described as a huge, non-material, highly structured, mentally
accessible "framework" of information containing all data pertaining
to everything in both the physical and non-physical universe. In the same vein
as Jung's Cosmic Unconsciousness, the Matrix is open to and comprises all
conscious entities as well as information relating to everything else living or
nonliving by accepted human definition. It is this informational framework from
which the data encoded on the signal line originates. This Matrix can be
envisioned as a vast, three dimensional geometric arrangement of dots, each dot
representing a discrete information bit. Each geographic location on the earth
has a corresponding segment of the Matrix corresponding exactly to the nature
of the physical location. When the viewer is prompted by the coordinate or
other targeting methodology, he accesses the signal line for data derived from
the Matrix. By successfully acquiring (detecting) this information from the
signal line, then coherently decoding it through his conscious awareness and faculties,
he makes it available for analysis and further exploitation by himself or
others.
Remote
viewing is made possible through the agency of a hypothetical "signal
line." In a manner roughly analogous to standard radio propagation theory,
this signal line is a carrier wave which is inductively modulated by its
intercourse with information and may be detected and decoded by a remote
viewer. This signal line radiates in many different frequencies, and its impact
on the viewer's perceptive faculties is controlled through a phenomenon known
as "aperture." Essentially, when the remote viewer first detects the
signal line in Stage I (*) it manifests itself as a sharp, rapid influx of
signal energy -- representing large gestalts of information. In this situation,
we therefore speak of a "narrow" aperture, since only a very narrow
portion of the signal line is allowed to access the consciousness. In later
stages involving longer, slower, more enduring waves, the aperture is spoken of
as being "wider."
--------------------------------------------------------------------------------
* NOTE: for the sake of clarity, ease of instruction,
and facility of control, RV methodology is divided into discreet, progressive
"stages," each dealing with different or more detailed aspects of the
site. Stage I is the first and most general of the six stages thus far
identified. Each stage is a natural progression, building on the information
obtained during the previous stage. Each session must start with Stage I, progress
on through Stage II, Stage III, and so forth, through the highest stage to be
complete in that particular session.
--------------------------------------------------------------------------------
D.
Levels of Consciousness:
1.
Definitions:
a.
Subconscious: Existing in the
mind but not immediately available to consciousness; affecting thought,
feeling, and behavior without entering awareness. The mental activities just
below the threshold of consciousness.
b.
Subliminal: Existing or functioning outside the area of conscious
awareness; influencing thought, feeling, or behavior in a manner unperceived by
personal or subjective consciousness; designed to influence the mind on levels
other than that of conscious awareness and especially by presentation too brief
to be consciously perceived.
c.
Limen: The threshold of
consciousness; the interface between the subconscious and conscious.
d.
Liminal: At the limen; verging
on consciousness.
e.
Supraliminal: Above the limen;
in the realm of conscious awareness.
f.
Conscious: Perceiving,
apprehending, or noticing with a degree of controlled thought or observation;
recognizing as something external. Present especially to the senses. Involving
rational power, perception, and awareness. By definition, the
"conscious" part of the human being is that portion of the human
consciousness which is linked most closely to and limited by the material
world.
g.
Autonomic Nervous System (ANS): A part of the
vertebrate nervous system that innervates smooth and cardiac muscle and
glandular tissues, governs actions that are more or less automatic, and
consists of the sympathetic nervous system and the parasympathetic nervous
system (Webster's 3rd Int. Unabr.).
h.
Ideogram (I): The reflexive
mark made on the paper as a result of the impingement of the signal on the
autonomic nervous system and its subsequent transmittal through this system to
the arm and hand muscles, which transfers it through the pen onto the paper.
i.
Analytic Overlay (AOL):
Conscious subjective interpretation of signal line data, which may or may not
be relevant to the site. (Discussed at length in STRUCTURE.)
j.
Automatic vs. Autonomic: Reception and movement of the signal line
information through the viewer's system ** and into objectification is an
autonomic process as opposed to an automatic one, which itself implies an
action arising and subsiding entirely within the system rather than from
without.
--------------------------------------------------------------------------------
(Note: in the original document, "j." was a
typo, listed as a second "i.")
** NOTE: When the word "system" is used without
qualifiers such as "autonomic," etc., it refers in a general sense to
all the integrated and integrative biological (and perhaps metaphysical as
well) elements and components of the viewer himself which enable him to
function in this mode known as "remote viewing."
--------------------------------------------------------------------------------
2.
Discussion:
RV
theory relies on a rather Freudian model of human consciousness levels. The
lowest level of consciousness is paradoxically named the
"unconscious." All this label really means is that that part of our
mental processes we know as physical "awareness" or
"consciousness" does not have access to what goes on there. It is
apparently this part of the individual's psyche that first detects and receives
the signal line. From here it is passed to the autonomic nervous system. When
the signal line impinges on the ANS, the information is converted into a
reflexive nervous response conducted through muscular channels controlled by the
ANS. If so allowed, this response will manifest itself as an ideogram. At the
same time, the signal is passed up through the subconscious, across the limen,
and into the lower fringes of the consciousness. This is the highest state of
consciousness from the standpoint of human material awareness. However, the
normal waking consciousness poses certain problems for remote viewing,
occasioned largely because of the linear, analytic thought processes which are
societally enhanced and ingrained from our earliest stages of cognitive
development. While extremely useful in a society relying heavily on
quantitative data and technological development, such analytic thinking hampers
remote viewing by the manufacture of what is known as "analytic
overlay," or AOL. As the signal line surges up across the limen and into
the threshold areas of consciousness, the mind's conscious analytic process
feels duty-bound to assign coherence to what at first blush seems virtually
incomprehensible data coming from an unaccustomed source. It must in other
words make a "logical" assessment based on the impressions being
received. Essentially, the mind jumps to one or a number of instantaneous
conclusions about the incoming information without waiting for sufficient
information to make an accurate judgement. This process is completely
reflexive, and happens even when not desired by the individual involved.
Instead of allowing wholistic "right-brain" processes (through which
the signal line apparently manifests itself) to assemble a complete and
accurate concept, untrained "left brain"-based analytic processes
seize upon whatever bit of information seems most familiar and forms an AOL
construct based on it.
For example, a viewer has been given the coordinates
to a large, steel girder bridge. A flash of a complex, metal, manmade structure
may impinge on the limenary regions of the viewer's mind, but so briefly that
no coherent response can be made to it. The conscious mind, working at a much
greater speed than the viewer expects, perceives bits and pieces such as
angles, riveted girders, and a sense of being "roofed over" and
paved, whereupon it suggests to the physical awareness of the viewer that the
site is the outside of a large sports stadium. The "image" is of course
wrong, but is at least composed of factual elements, though these have been
combined by the viewer's over-eager analytical processes to form an erroneous
conclusion.
E.
Learning Theory
1.
Definitions:
a.
Overtraining: The state reached when the individual's learning system is
over-saturated and is "burned out," analogous to a muscle that has
been overworked and can no longer extend or contract until it is allowed to
rest and rebuild fibers that have been broken down by the stress, or reinforce
those that have been newly acquired by new demands placed upon the muscle.
b.
Absorption: Assimilation, as
by incorporation or by the digestive process.
c.
Cognitron: A cognitron is an
assemblage of neurons, linked together by interconnecting synapses, and which
when stimulated by the mind's recall system produce a composite concept of
their various subparts. Each neuron is charged with an element of the overall
concept, which when combined with the elements of its fellow neurons produces
the final concept which the cognitron represents. As a human learns new facts,
skills or behaviors, neurons are connecting into new cognitrons, the connecting
synapses of which are more and more reinforced with use.
d.
Neuron: "A nerve cell
with all its processes." The apparent fundamental physical building block
of mental and nervous processes. Neurons are the basic element in the formation
of cognitrons, and may be linked into varying configurations by the formation
or rearrangement of synapse chains.
e.
Synapse: The interstices
between neurons over which nerve impulses must travel to carry information from
the senses, organs, and muscles to the brain and back, and to conduct mental
processes.
f.
Learning Curve: The graphic
representation of the standard success-to-session ratio of a remote viewer
trainee. The typical curve demonstrates high success for the first one to a few
attempts, a sudden and drastic drop in success, then a gradual improvement curve
until a relatively high plateau is reached.
g.
First-Time Effect: In any
human activity or skill a phenomenon exists known as "beginner's
luck." In remote viewing, this phenomenon is manifest as especially
successful performance at the first attempt at psychic functioning, after which
the success rate drops sharply, to be built up again gradually through further
training. This effect is hypothesized to result from the initial excitation of
hereditary but dormant psi-conducting neuronal channels which, when first
stimulated by attempted psychoenergetic functioning "catch the analytic
system off guard," as it were, allowing high-grade functioning with little
other system interference. Once the initial novelty wears off, the analytic
systems which have been trained for years to screen all mental functions
attempt to account for and control the newly awakened neural pathways, thereby
generating increasing amounts of masking "mental noise," or AOL.
h. Noise:
The effect of the various types of overlay, inclemencies, etc. that serve to
obscure or confuse the viewer's reception and accurate decoding of the signal
line. Noise must be dealt with properly and in structure to allow the viewer to
accurately recognize the difference between valid signal and his own incorrect
internal processes.
2.
Discussion:
Learning theory for RV methodology is governed by the idea that the
student should "quit on a high point." Traditionally, the learning of
a skill concentrates on rote repetition, reiterating the skill a large number
of times until it is consistently performed correctly. Recent developments in
learning theory which have been applied with particular success in sports
training methodology indicate that the rote repetition concept tends more to
reinforce incorrect performance as opposed to developing the proper behavior or
skill. Much success has been realized by implementing the concept of
"quitting on a high point." That is, when a skill or behavior has
been executed correctly, taking an extended break from the training at that
point allows the learning processes to "remember" the correct
behavior by strengthening the neurological relays that have been established in
the brain by the correct procedure.
The
phenomenon of overtraining is a very real danger in the training cycle,
generally brought about by pushing ahead with training until the learning
system of the viewer is totally saturated and cannot absorb any more. This results
in system collapse, which in effect is a total failure to function psychically
at all. To avoid this, the normal practice has been to work an appropriate
number of sessions a day (anywhere from one to several, depending on each
individual trainee's capacity and level of training and experience) for a set
number of days or weeks (also individually dependent), with a lay off period
between training periods to allow time for assimilation or
"absorption." Even with this precaution, overtraining can sometimes
strike, and the only remedy becomes a total training layoff, then a gradual
reintroduction. It is extremely important that the viewer inform the monitor
when he is feeling especially good about his performance in remote viewing
training, so that a training break may be initiated on this high point. To
continue to push beyond this threatens a slide into overtraining.
It
is very important that should the viewer in the course of the training session
become aware that he has experienced some important "cognition" or
understanding, or if the monitor perceives that this is the case, the session
must here also be halted. This allows time both for the cognition to be fully
matriculated into the viewer's system and for the accompanying elation of discovery
to dissipate.
The fact that CRV methodology is
arranged into six distinct stages implies that there is a learning progression
from one stage to the next. To determine when a student viewer is ready to
advance to the next stage, certain milestones are looked for. Though the
peculiarities of each stage make certain of these criteria relevant only to
that specific stage, general rules may still be outlined. When a viewer has
consistently demonstrated control and replication of all pertinent stage
elements and has operated "noise free" (i.e., properly handling AOL
and other system distractions in structure) for five or six sessions, he is
ready to write a stage summation essay and move on to the introductory lectures
for the next stage.
Essay writing is an important part of
the CRV training, and serves as a sort of intellectual
"objectification" of the material learned. Through student essays the
instructor is able to determine how thoroughly and accurately the student has
internalized the concepts taught.
F.
Reference Material:
1.
Theory: Dixon, Norman, Preconscious Processing, New York: Wiley, 1981.
2.
Learning Theory:
a. Fukushima, K. and Miyake, S., "A Self-organizing Neural Network
with a Function of Associative Memory: Feed-back Type Cognition,"
Biological Cybernetics, 28 (1978), pp. 201-208.
b. Fukushima, K. "Neocognitron: A Self-organizing Neural Network
Model for a Mechanism of Pattern Recognition Unaffected by Shift in
Position," Biological Cybernetics, 36 (1980), pp. 197-202.
c. Linn, Louis, "The Discriminating Function of the Ego,"
Psychoanalytic Quarterly, 23 (1954), pp. 38-47.
d. Shevrin, H., and Dickman, Scott, "The Psychological Unconscious:
A Necessary Assumption for All Psychological Theory?" American
Psychologist, vol. 35, no. 5 (May 1980), pp. 421-434.
e. Westlake, P.R., "The Possibilities of Neural Holographic
Processes within the Brain," Kybernetic, vol. 7, no. 4, pp. 129-153.
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