SRV Lesson 10 Transcript

Once we finish with Phase 2, we move immediately to Phase 3. Phase 3 is our first opportunity to draw a sketch of the target. All phases begin on a new piece of paper, and that is true of Phase 3, of course. So you take your Phase 2 data and you put it off to the side, usually up in front of you on the desk, off to the left, and you grab a new piece of paper. This new piece of paper you position in landscape mode, and that means the long side is positioned horizontally. You want a wide-angle view. And we put a page number in the upper right-hand corner, and in the center of the top of the page, you put capital P and a 3. That's for Phase 3. Now the Phase 3 sketch is an intuitive sketch of the target. Phase 3 sketches can be spontaneous, but they can also be somewhat analytical based on what was perceived earlier in the session. The sketches can sometimes be detailed graphical representations of the target, but that's not normally what they are. More often they are pictorial symbols, partially descriptive and sometimes symbolic of the target's complexities. New viewers are encouraged to refer back to the Phase 2 magnitudes in order to assist them in drawing the Phase 3 sketch, yet advanced viewers sometimes refer also back to the Phase 1 and Phase 2 data. But let's begin. We have our piece of paper, and it is in landscape mode, which is the long side being held horizontally. You sit up straight, feet on the floor, look at the blank piece of paper that just has P3 and a page number, that's all. And as you stare at the page, you will get intuitive feelings about where lines should be drawn. Sometimes you get a sense that there is a structure there, or that there is a curved line. For example, if the position of the viewer from the perspective of the target is, say, 300 kilometers above the Earth, then you may just be perceiving a curved horizontal line, which would be, say, the horizon of the planet Earth. On the other hand, if the remote viewer's perspective is on the surface and you're seeing a structure, you may be perceiving some vertical lines, and perhaps a horizontal line underneath that. You may also perceive a subject. Getting your first Phase 3 sketch can sometimes be a little nerve-wracking, because you're asking yourself to draw the target, and you've never drawn a target before. But it's really quite simple. Now, I once had a student who simply would not draw anything for the Phase 3 sketch. And after I repeatedly encouraged this student to sketch something, he finally looked at me and declared that he knew it could not be correct, but he simply could not get the idea out of his mind of a circle with what appeared to be many lines originating from the center of the circle, radiating outward. He then drew the sketch in order to show me what he meant, and he did it actually on the piece of paper that was for the Phase 3 sketch. Now, he did this to purposely show me how ridiculous his image was, and how it really was not relevant to anything that's going on in the remote viewing session. And this later turned out to be an important realization for him. As it turned out, the sketch was a nearly perfect representation of the roof of a circular building that was the center of the target. The picture of the building that was being used to identify the target was taken from an elevated angle, and this viewer's sketch exactly matched the angle of the perspective of the target that was represented in the picture. It is very common for many new students of remote viewing to feel a large amount of doubt when they're drawing their Phase 3 sketch. They generally think that perhaps someone else could do it, but they couldn't do it, and this image that they're getting doesn't make sense to them, so it really couldn't be right, and there is sometimes some fear associated with actually drawing the picture given the amount of doubt they can have. This is a new experience for virtually everyone, and it is quite normal for this doubt and for this fear to occur. Now, this is the important point. It doesn't matter what the viewer feels. It does not matter if the viewer is doubtful. It does not matter if the viewer is afraid. The only thing that matters is that the viewer faithfully record on the piece of paper where he or she feels the lines should be. You see, fear and doubt are on the conscious level of the mind. They have nothing to do with the subspace physical transference of information. In fact, it can sometimes work to the advantage of a new viewer if the conscious mind is experiencing doubt or even some fear because these feelings occupy the attention of the conscious mind, allowing the subspace mind more freedom in getting the information past the conscious mind and onto the piece of paper. Again, phase three sketches are intuitive representations of the target. The viewer need not understand what the sketch represents. As a general rule, it is impossible to know exactly what a phase three sketch actually represents. You can have a general idea that there are people and a structure in the sketch, but you can never be certain. At best, you can only say that you feel there are lines here, curves there, and so on. Often simple drawings of people, such as subjects, or their ideograms are found in phase three sketches. Yet we never definitively assume that we really understand what these things are. At this point in the session, we only know that the drawings look like ideograms or sketches representing, say, subjects or structures or a horizontal line looking like land, but we don't know for certain. After drawing any initial aspects of the sketch, the viewers often run their hand or pen over the paper a couple of times. This, of course, being done without actually contacting the paper and the pen. You don't want to draw lines that are just erroneous. You want to take your hand or the edge of the pen and just move it around the paper to feel if there's something else that's there. Doing this can sometimes help viewers feel for where other aspects of the target may be located. And if you do feel anything additional, you should quickly add these additional lines to the sketch. Very often, new viewers are seen moving their hands over the paper in very clear patterns without ever drawing these patterns. Also, sometimes they move their pen over the paper as if they are tracing out something, yet they're not actually drawing something. Some instructors of remote viewing have referred to these movements of the hands as micro-movements. They're movements of the hands that are, in fact, tracing out aspects of the target, but they're not recording these aspects on the paper with the pen. So it's very important for beginning students of remote viewing to be aware that the subspace mind and the intuitions that you're feeling can be very accurate, and it is not possible for your conscious mind to evaluate the accuracy of these feelings. Thus, you simply have to have faith and trust in your subspace mind. Where you feel these lines should go, you simply draw them in. Let me give you an example of a session that I once had in which the target was a city on the planet Earth, and I was being sent by my tasker to this target from a very high distance. So I was essentially looking at a city on the planet Earth from a perspective of, say, a few hundred miles above and a little bit off to the side of that city. When I was drawing my Phase 3 sketch, I simply looked at the blank piece of paper and I felt where the line should be, and I drew in a curved horizontal line, like an arc. And I said to myself, what could that possibly represent? What could that be? And then I asked myself, what else could be here? And I moved my perception around a bit, and I felt that there was something to the left near that curved horizontal line. And I started just drawing something that was sort of angular with some lines on it. And after a few moments, those lines started to look like buildings. And then I looked at it and I said, well, the best I can get from this is it's a curved horizontal line, and it looks like there's some lines on that line that sort of look like structures. But I did not know that they were structures, nor did I know that the curved horizontal line was the horizon of the planet Earth. For all I knew, that curved horizontal line could have been the edge of, say, a tennis ball, and those lines off to the left could have represented something on that tennis ball, perhaps some fibers or something. I had no idea of what it actually was. So, it is important to know that you will not know for certain what the lines represent, but you must faithfully draw these lines. And if you feel there's a person there, draw in a person. If you feel there's a horizontal line that feels like land, draw in that horizontal line. We can sort it out later, finding out if it's land or water, or some type of interface between land or water. But what's important in the phase three diagram is that you accurately transfer whatever images or whatever feelings you may have. It is important for me to emphasize that when there are micro-movements of the hands, when the hands are moving or tracing out things in the target but not actually drawing it on the piece of paper, this is another example of the phenomenon called editing out. It's an editing out problem. I'll give another example. If the target is, say, a mountain, many students have been observed moving their hands in front of their faces, tracing out the outlines of the steeply sloped mountain, even to the point of outlining the rounded or pointed peak of the mountain. Yet they never actually drew it on the phase three sketch. Thus it is very important for you not to worry about doubt. If there is doubt, so be it. If there is some fear or some hesitancy, so be it. But write on the piece of paper what you feel about the target. After giving this warning to many students, I have sometimes noted that some students sometimes put too much ink on the piece of paper, meaning they put the pen on the paper and they just start drawing and drawing and drawing, and after two or three minutes of drawing things on the piece of paper, the page is almost completely filled with ink and you can't make heads or tails of anything that's on it. So what you really want to do is, when you start your phase three sketch, sit back, keep your back straight, put your head up a little and look at the page and just project out what you think you feel about this target. You'll feel the lines going one way or the other. And just draw it. Just draw in the lines. And if you feel the subject's there, draw the subject. If you feel other lines are there, draw them in, and so on. Now, after you've done this initial drawing in of some lines, you can look back at the dimensional magnitudes that are recorded at the end of phase two. Sometimes a glance at these magnitudes will trigger the sense of additional areas that need to be included in the drawing. For example, sometimes someone will write tall or towering as a vertical dimensional magnitude. Well, that may not have yet been drawn in on the phase three sketch. So checking the phase three sketch, the student may then perceive where this tall or towering thing is and then include it in the drawing. In general, phase three sketches are drawn rather quickly. Later, in phase five or in advanced versions of phase four, there are opportunities to improve the drawing. more meticulous and extended sketches of the target. But the phase three sketch normally has a sense of rapid data transference of initial impressions, not exact drawings, including finer details. If you spend too much time at this early point in the session with exact drawings, it can invite the conscious mind to begin an interpretation of this diagrammatic data. As an approximate rule, no more than five minutes should be spent on a phase three sketch, and a good phase three sketch often takes less than a minute. In type four data situations in which there is a monitor, the monitor knows the identity of the target, and the monitor can actually make some interpretations with regard to the basic aspects of the phase three sketch. Here are some general guidelines that are useful for interpreting phase three sketches, but it's very important for me to emphasize that the viewer should not use these guidelines to make these interpretations while the sketch is being drawn. The viewer should simply draw in the lines wherever they feel the lines should be. Here are these guidelines. In general, perpendicular and parallel lines normally represent artificial structures, or aspects of such structures. Wavy lines often suggest movement. Subject idiographic lines or more detailed sketches of subjects generally do represent subjects. There is no way to estimate size with a phase three sketch. For example, a circle could represent a golf ball, or it could represent a planet. The viewer will not know at that point in the session exactly what that circle means. Some lines tend to represent land-water interfaces. That's where land and water meet, as with a coastline. Other lines tend to represent air-water, or air-land interfaces, where air and water meet, or where air and land meet. Again, these are interpretive guidelines that are useful for the monitor's use during the session. Viewers should not try to use these guidelines to interpret the phase three sketch on the spot. Viewers must concentrate only on recording the lines that represent or reflect the various aspects or parts of the target. After the session is completed, the viewer can spend as much time as needed interpreting the data in the sketches and elsewhere. Now, everything that I've said so far about phase three sketches are generalizations. Thus, in general, phase three sketches occur the way I've just described them. However, sometimes more detailed images, visual images, can appear, and when this occurs, the viewer should make sure that there is no editing out. The image must be drawn on the piece of paper, and sometimes it is not exactly clear where the image is in relation to everything else. Somewhere on that phase three sketch, put down everything. We can sort it out later where everything has to go. Normally, you draw in some basic lines that outline the target, and you can add some detail before moving on to phase four, but sometimes a lot of detail comes through. There's lines here, flat area here, there's a curved area over here. Draw those in, everything that you get. Never disregard something as being unimportant. Always consider that every piece of information that you feel about the target is important, and just draw it in. If you feel there are subjects, draw in those subjects. If you feel there are cylindrical type objects, not knowing what those objects are, just draw in the general shape. If you feel there's something circular above, draw that circular thing above. No matter what it is, put it in, and don't worry about the picture making sense. We'll figure it out afterwards, after the session's completed, what goes where, and so on. So in general, the phase three sketch is done rather quickly, and it is a very rough approximation of the target, but sometimes more accurate, detailed visual images can come through, and we want to make sure that we record everything. Now remember in the beginning of this lesson, I talked about how phase three sketches can be intuitive and spontaneous, but also analytic. Well, we've covered a little bit about how they can be analytic by having the viewer look back at the dimensional magnitudes, but there is another aspect to a phase three sketch when it is more analytic than spontaneous. When you are making a phase three sketch, you have already gone through phase one and phase two, and in phase one, you had a number of ideograms. These ideograms were decoded. You gave them primitive and advanced descriptors plus a B. Even if your B for some of the ideograms was no B, some other ideograms were decoded. In particular, for those ideograms that went away after you decoded them and found a B, you also had some C-level information as well. Remember phase one has an A, B, and a C. So when you are doing an analytic sketch for phase three, you can look not only at your dimensional magnitudes for phase two, but you can also look back at your ideograms. If you had a structure ideogram, and if that structure ideogram went away after you decoded it with your next ideogram, then you probably have a structure at the target. So when you are looking at your phase three sketch, one of the things you may ask yourself is, I don't seem to have any structures on that sketch yet. Where would the structure be? Do I feel a structure? Where is it? That's the type of internal dialogue you often have with yourself. Actually, advanced viewers sometimes speak aloud when they are doing a session, and they ask themselves about this target, sort of walking themselves through it with their own voice. So if you have a structure ideogram, and structures don't appear to be in your phase three sketch, then you might ask yourself, where is this structure? Where does it go? Trying to put the pieces together in your phase three. Now when we get to enhanced scientific remote viewing, which is the advanced version, we have much more of that putting together, assembling the target from its various components. But right now you want to just begin that process, and you want to look at your dimensional magnitudes in phase two, and in your ideograms, and you want to see if those ideograms are represented in aspects of your phase three sketch. If they are there, then you can just proceed and move on to phase four. But if they are not there, you might just question yourself a little further to see if they can be put in. Now, if an ideogram says there's a structure there, and when you're in phase three you just don't see it, you have a curved horizontal line, or a flat horizontal line, and maybe some foliage, like a tree, or some bushes, or maybe something that looks like a mountain, but you simply don't see where the structure goes, then just don't worry about it for now. You will have a chance to sort it out further in phase four. Again, the bottom line rule for phase three is that the sketches should be rather quickly executed, and you don't feel for the lines, you feel for the curves, you feel for the angles, and if you see something like a structure, or a subject, or a mountain, or some type of landscape, you just draw it in as best as possible, and let it be, and then get ready to proceed on to phase four. Now, let us talk a little bit about how to proceed with this course. The next two lessons are remote viewing sessions. Before you begin these sessions, you want to be sure to do CSP, and you want to make sure that your desk is ready, your paper is ready, and the pen is ready, and that you're comfortable. And you want to do the sessions separately, in the sense that there should be some period of time between each session. Minimally, you should take a one-hour break between sessions. The reason that you don't want to do one session back-to-back with another session with only a few minutes' break is because the impressions of one target will bleed into the next target. So you want to separate out the lessons by at least an hour, and if you can separate them out by, say, a morning and an afternoon, that's even better. Let me give you an example of how different targets can blend together in the consciousness. I once had a class in which I gave one target as an explosive event. I then had the entire class do another target immediately after the first target. The second target was a phase-three sketch of the room in the structure, but the walls were made out of an explosion, meaning the walls were very thick, there was a great deal of explosive energy around the walls, contained in the walls, and the viewer couldn't understand why he was perceiving a room that had walls made of an explosion. Now, in that particular experiment, I was sure not to tell the students what the identities of both targets were until after both sessions had been completed. And then they could see how they got explosive characteristics for the first session and a blending of some of these characteristics in the second session, which in fact had no explosive characteristics. So the sessions were blended, the content of the sessions were blended, especially in the second session. So we want to separate out the sessions by some period of time so that the impressions on the conscious mind of the first session can dissipate before starting the second session and an hour is an absolute minimum amount of time between sessions. Again, if you can break it with more, that's better. Remember also to do CSP before each session, not just before the first session. After you finish the next two lessons, which are two separate sessions that go up through phase three, you will then continue the course as we alternate between lessons and CSP. Sessions This repetition of sessions, one target after the next, after the next, after the next, is an essential process in the learning experience for scientific remote viewing. It is very much like learning how to play the violin or any other instrument. Practice is the essential ingredient. As you proceed through this course, adding new elements to new elements to new elements, your sessions will be getting longer as you go from phase one to phase two to phase three and then phase four and then additional aspects of phase four. And each time you do a session that adds something new, you're going to be practicing the stuff that happened earlier, phase one, two, and three, and so on. It's essential that you have practice. We have found that excellence in remote viewing is a consequence not so much of inspiration and talent as much as it is a consequence of repetitive practice. Actually, talent in remote viewing is simply the intuitive ability to decode what these feelings are and how they are, and to translate these feelings into lines that you see on a piece of paper or verbal descriptions. Thus, talent can be developed. The more you practice remote viewing, the more you become familiar with the decoding process, and the better you will get at decoding this information as you proceed through the session. Now, proceed on to the next lesson. Be sure to remember to do CSP before the session.