SRV Lesson 11 Transcript

As we begin our next scientific remote viewing session, I am assuming that you have already completed CSP, the Consciousness Settling Procedure, and that you have recited the SRV affirmation. Now, sit comfortably at your desk, feet on the floor, back straight, relax. Take a clean piece of paper, put it in front of you. The rest of the stack of white paper is off to the side, the right-hand side. And on your clean piece of paper, we write your name in the upper right-hand corner. Underneath that, write the date in European or military fashion, which is the day first, followed by the month, followed by the year. Under that, write the time. Be sure to put AM or PM. Look at your watch to determine the time and write that down. On the left side of the page, at the top, write data colon type four. Underneath that, write monitor colon Courtney Brown. At the top of the page, in the center, write capital PS dash for physical state, and now declare your physical state. PS dash and your physical state. If you feel good, put good, whatever it may be. Under that, in the center, write capital ES dash emotional state. If you feel happy, put happy. If you feel okay, put okay. If you're perhaps a little nervous, put that. Whatever it may be, just write it down. And under that, write AP dash capital AP, and then write any advanced perceptuals that you may have relating to the target. Anything at all that you're thinking about with regard to the target, just put it down. Now, underneath and to the left, we begin our session. Prepare to receive the target coordinates. Feel relaxed. Relax the hand. You can shake it out if you want. Feet on the floor. Good posture. I will give you the eight numbers for the target coordinates. The first four you write down, and then the second four you write underneath the first four, and then you immediately put the point of the pen on the paper to the right of the target coordinates, and an ideogram will be Two. A. A colon. Describe the movement of the pen with words. Do that now. Describe of the pen when you drew the ideogram. Do that with words. Do it now. Now probe the ideogram. Put the point of the pen somewhere on the line of the ideogram. Push in gently and perceive your primitive descriptor. Is it hard, soft, semi-hard, semi-soft, wet, or mushy? What does it feel like? Pick one. Do that now. Write it down underneath the description of the movement of the pen with words. Now probe the ideogram again to perceive your advanced descriptor. Put the point of the pen on the ideogram again. Push in gently. Is it natural, man-made, artificial, movement, energetics? What is it? Pick one. Feel it. Extend your feelings through the point of the pen, through the ideogram, to the target. Natural, man-made, artificial, movement, energetics? Pick one and write that underneath your primitive descriptor. Underneath your advanced descriptor, now write capital B colon and declare your B. Examples are no B, structure, water, dry land, wetland, motion, person, mountain, city, sand, ice, swamp. What does it feel like? No B is fine. Otherwise, pick one. What does it feel like? Underneath your B, write capital C colon. Probe the ideogram again. Perceive other characteristics of the target. Each time you probe the ideogram and you perceive some characteristic of the target, write it down in C in a list. What sounds are there? Probe the ideogram. What textures? Probe the ideogram. Write the perceptions down. Each one underneath the last, one after the other. Probe the ideogram again. Any visuals, colors? What about tastes? Any tastes or smells? All right. Now, take this piece of paper and put it off to the side in the upper left-hand corner of the desk and get a new piece of paper and number this piece page 2 in the upper right-hand corner. Now, prepare to receive the target coordinates once again. Ready? 7 7 2 4 5 4 4 2 A colon. Describe the movement of the pen with words. Describe the movement of the pen with words as you drew the ideogram. Now, probe the ideogram. Put the point of the pen on the ideogram. Perceive your primitive descriptor. Is it hard? Soft? Semi-hard? Semi-soft? Wet or mushy? Probe the ideogram. What does it feel like? Write that down underneath the description of the movement of the pen. Now, probe the ideogram again to perceive your advanced descriptor. What does it feel like? Is it natural? Man-made? Artificial? Movement? Energetics? What is it? What does it feel like? Pick one. Write that down. Perceive it. Underneath your advanced descriptor, write B colon. You can probe the ideogram again if you need to and declare your first intuitive thought about what the ideogram represents. Some possible examples are no-be, structure, water, dry land, wet land, motion, person, mountain, city, sand, ice, swamp. What does it feel like? No-be is fine. Otherwise, write down what you perceive it to be. What does that aspect, this ideogram, represent? Underneath that, write C colon and probe the ideogram again to perceive other characteristics of the target represented by this ideogram. What sounds do you perceive as you put the point of the pen on the ideogram and gently press in? Textures. What textures? Rough, smooth, polished, shiny, matted, prickly, sharp, wet, slippery. What does it feel like? Write it down in C. Continue to probe the ideogram and write down your perceptions one at a time. Okay, let us take a new piece of paper. The current page put off to the left with the first page and with the new piece of paper, number it 3 in the upper right-hand corner and prepare to receive the target coordinates. Here we go. 7-7-2-4-5-4-4-2 A. Describe the movement of the pen with words. A colon. Describe the movement of the pen with words. Now probe the ideogram to perceive your primitive descriptor. Put the point of the pen on the ideogram. Press in gently. How does it feel? Hard, soft, semi-hard, semi-soft, wet or mushy. How does it feel? Write it down underneath the description of the movement of the pen. Now probe the ideogram again. Is it natural, man-made, artificial, movement, energetics? What does it feel like? Write it down underneath your primitive descriptor. Underneath your advanced descriptor write capital B colon. Declare your B. Examples are no B, structure, water, dry land, wetland, motion, person, mountain, city, sand, ice, swamp. If you have an intuitive thought about what this ideogram represents, write it down. Otherwise, write no B. Underneath that, write capital C colon. Now probe the ideogram again. As you probe the ideogram, perceive other characteristics of the target as they are identified by this ideogram. Put the point of the pen on the ideogram. Press in. What sounds do you perceive? Write them down. Textures. Probe the ideogram. What textures? How does it feel? Any surfaces, how do they feel? Any visuals, such as colors, what are they? Write them down. Any tastes? Smells. Write them down. All right, now let us take this piece of paper and put it off to the side with the other finished pieces. Get a new piece of paper and number that in the upper right-hand corner, page 4. Sit comfortably, relaxed. Relax your hand and prepare to receive the target coordinates. Here we go. 7, 7, 2, 4, 5, 4, 4, 2. A colon. Describe the movement of the pen with words. Now probe the ideogram. Put the point of the pen on the ideogram, somewhere in the middle. Push in gently. Perceive your primitive descriptor. Does it feel hard, soft, semi-hard, semi-soft, wet, or mushy? Probe the ideogram again for your advanced descriptor. Does it feel natural, man-made, artificial, movement, energetics? How does it feel? Probe the ideogram and write down your advanced descriptor. Underneath your advanced descriptor, write B colon. You can probe the ideogram again if you need to. Write down your first intuitive thought about what you feel this ideogram identifies in the target. Again, examples are no B, structure, water, dry land, wetland, motion, person, mountain, city, sand, ice, swamp. You perceive this and you evaluate the shape of the ideogram as well and declare your B. Underneath that, write capital C colon. Probe the ideogram again. What else do you perceive about the target? Any sounds as you probe the ideogram extend your feelings through the pen to the target. Any textures. What textures do you perceive? Write them down in C. Any visuals, such as colors. Probe the ideogram and write down your perceptions. Tastes. Any tastes or smells. Probe the ideogram and write them down. Continue to probe the ideogram and write down your perceptions. Let your feelings sink in to the target. Feel the target through the pen. Perceive it. All right. Now take this piece of paper and put it off to the side with the other finished pieces. Get a new piece of paper and number it page 5. Sit back. Feel comfortable. Feet on the floor. Prepare to receive the target coordinates. Here they are. 7, 7, 2, 4, 5, 4, 4, 2. A colon. Describe the movement of the pen with words. Do that now. Probe the ideogram. Put the point of the pen on the ideogram. Push in gently. What do you feel? Perceive your primitive descriptor. Is it hard, soft, semi-hard, semi-soft, wet or mushy? Perceive it. Now probe the ideogram again to perceive your advanced descriptor. What does it feel like? Is it natural, man-made, artificial, movement, energetics? What is it? Write it down. Underneath your advanced descriptor, write B colon and declare your B, your first intuitive thought about what this ideogram identifies in the target. Examples are no B, structure, water, dry land, wetland, motion, person, mountain, city, sand, ice, swamp. What does it feel like? Underneath your B, write C colon. Probe the ideogram again and after each perception, write it down in C. Any sounds? What do you perceive about the target? What about textures? Probe the ideogram. What textures do you perceive? Any visuals? Colors? Any colors? Temperatures? What about temperatures? Smells? Write down whatever you perceive, one at a time. Probe the ideogram and write down your perceptions. Okay. Now take this piece of paper, put it off to the side with the other finished pieces, take a new piece of paper, number it in the upper right-hand corner, page six, and in the top center of the page, write P2 for phase two. Now in phase two, we are going to be perceiving sensory data that relate to the target as a whole, not just one component of the target as represented by an ideogram, but the entirety of the target, whichever of those senses come through the strongest, whichever we notice, whatever happens. On the left-hand side of the page, write down the word, sounds, followed by a colon. What sounds do you perceive? You can probe the colon. What sounds do you perceive? Some examples? Clanging, drop-drop, barking, humming, beating, drums, hitting, rustling, laughing, crying, worrying, rushing, wishing, barking, anything at all. What sounds do you perceive? Write them down after the colon. Now write the word underneath the sounds on the left again, textures. Write textures followed by a colon. You can probe the colon again if you need. What textures do you perceive at the target? Some examples are rough, smooth, shiny, polished, matted, prickly, sharp, foamy, grainy, slippery, wet. What textures do you perceive? Write them down after the colon. List them horizontally. If you perceive more than one texture, separate each perception with a comma as you list them. Underneath textures, write the word for temperatures, which is temps, T-E-M-P-S, followed by a colon. Write temps, T-E-M-P-S, colon. Probe the colon as needed. What temperatures do you perceive at the target? What temperatures do you perceive at the target? Write them down. Examples are hot, cold, warm, cool, frigid, sizzling. Any temperatures, whatever they are, just write them down. Underneath your temperatures, write the word visuals, visuals, followed by a colon. And then underneath visuals, indented a little bit to the right, write the word colors, followed by a dash, not a colon, a dash. Now write what colors you perceive. You can probe the dash as needed. What colors do you perceive? Some examples are blue, yellow, red, orange, green, purple, pink, turquoise, and others. What colors do you perceive? Probe the dash and write down the colors. Now underneath colors, and indented just the way you indented the word colors, write the word for luminescence. You write L-U-M, that's all, L-U-M for luminescence, followed by a dash, L-U-M, dash. You can probe the dash as needed. What luminescence do you perceive? Some examples are bright, dull, dark, glowing. What luminescence do you perceive? Write it down. Do that now. Underneath luminescence, and again indented just the way we've indented colors and luminescence, we write the word contrasts. Contrasts, followed by a dash. Probe the dash as needed. What contrasts do you perceive? Examples are high, medium, low. What contrasts do you perceive in your visuals? Write them down after the dash. Now we drop down again, but this time we do not indent. On the left-hand side of the page, we write the word tastes, followed by a colon, not a dash anymore, followed by a colon now. Tastes, followed by a colon. You may probe the colon as needed. What tastes at the target do you perceive? Examples are sour, sweet, bitter, pungent, salty. What tastes do you perceive? Write them down. Underneath tastes, we write smells, followed by a colon, smells, followed by a colon. What smells do you perceive? You may probe the colon as needed. Some examples are sweet, nectar, perfume, flowers, aromatic, burning, dust, soot, fishy, smoke. Many viewers can also perceive cold and hot as a smell. What do you perceive? Whatever the smells are, write them down. What smells do you perceive? Do that now. Now, underneath smells and indented, write the word for magnitudes, which is mags, m-a-g-s, followed by a colon, m-a-g-s, a little indented, followed by a colon. Now, underneath magnitudes, we list the dimensional magnitudes, starting with verticals. Do not write down the word verticals. Just mentally cue on the concept of verticals. What verticals do you perceive at the site, at the target site? Examples are high, tall, towering, deep, short, squat. What verticals do you perceive at the target site? Now, right below that, we mentally cue on the horizontals. What horizontals do you perceive at the target site? Examples are flat, wide, long, open, thin. What horizontal dimensional magnitudes do you perceive at the target? Now, underneath that, we write we mentally cue on the word diagonals. We do not write the word diagonals. Just mentally think of the word diagonals. And what diagonals do you perceive at the target site? Write them down. Some examples are oblique, diagonal, slanting, sloping. What diagonals do you perceive? Underneath that, we mentally cue on the concept of topology. Topology. We do not write down the word topology. What general topology do you perceive at the target site? Examples are curved, rounded, squarish, angular, flat, pointed. What do you perceive? Write it down. Underneath that, we mentally cue on the concepts of mass, density, space, and volume. Mass, density, space, volume. What do you perceive? Write it down. Underneath that, we mentally cue on the concepts of mass, density, space, and volume. Examples are heavy, light, hollow, solid, large, small, void, airy, huge, bulky. What do you perceive? Write it down. Underneath mass, density, space, volume, we mentally cue on the dimensional magnitude of energetics. What energetics do you perceive? Examples are humming, vibrating, pulsing, magnetic, electric, energy, penetrating, vortex, spinning, churning, fast, explosive, slow, zippy, pulsing, pounding, quick, rotating, or anything else related to the dimensional magnitude of energetics. What do you perceive? Write it down. As with all dimensional magnitudes, if you do not perceive anything for that particular concept, just leave a dash for that spot, and then move on. What do you perceive? Write it down. Underneath that, we mentally cue on the concepts of mass, density, space, volume, and volume. What do you perceive? Write it down. Examples of your feelings, your gut response to the target at this point. Examples of your feelings are okay. I feel okay. I feel fine. Feels good. Disgusting. Happy. Hmm. Interesting. This is awful. This place stinks. This is gross. I feel light and lifting. I feel spiritual. Enlightening. Wow. Again, a simple okay or I feel fine is also a satisfactory of your feeling. It does not have to be a strong response, just a response. What is your feeling about the target? Write it down. Put the pen down after you have written your viewer feeling. Put the pen down after you have written your viewer feeling. Take the piece of paper for phase two, and put it off to the side with the other pages for this session. Get a new piece of paper, and position this new piece of paper in the landscape mode, which is the long ways positioned horizontally. Put a P3, capital P3, in the center of the top of the page, and write the next consecutive page number, which, for most people, will be the number 7 in the upper right-hand corner. Now, sit up straight. Look down at the blank piece of paper, and feel the target. You are now going to draw the target. What do you feel? Something is there. You're drawing it. Draw the lines where you feel the target. What do you feel they should be? Perceive the target on that piece of paper, and draw the lines in. Do not try to interpret the lines, just draw them in. Where are the lines? Outline the target. Any shapes, draw those. Draw the target. Sketch it. Take a glance back at your dimensional magnitudes in phase two. Look at what you wrote down for your verticals, and horizontals, and diagonals. Where do you feel those perceptions go in your phase three sketch? Draw them in. Perceive the lines. Any vertical lines, horizontal lines, diagonal lines. All right. At the bottom of this page, write end. Now, take a look at your watch. What time is it? Write down the ending time for the session. I will now give you the identity of the target for this session. While I am doing that, assemble your pages. You have seven or more pieces of paper. Put them out in front of you from page one up through page seven in order so that you may look over all of them. The target for this session is the Washington Monument, Washington, D. C., USA, 10 August 1998, 12 noon, Washington, D. C., local time. Write the target down at the bottom of the page. You write it as follows. The Washington Monument, followed by a slash, and then Washington, D. C., followed by another slash, USA, then a parentheses, then the date, 10 August 1998, 12 noon, Washington, D. C., local time, end parentheses. As you look over your data for this session, you are aware that the dominant part of this target is the structure, the Washington Monument, which is a very tall, pyramid-shaped monument in Washington. You should look to see if you have any structure ideograms among your pages of data. The structure is hard. It is also man-made. It is a stone structure. The structure itself is in a city, so that there are many structures nearby. But the actual location within the city for the Washington Monument is a park, which is predominantly flat and grassy. Nearby, the Washington Monument is the reflecting pool, a very large and long pond, so there is water near the Washington Monument as well. Also, the Potomac River is near the Washington Monument. Thus, we have flat land and water very near the Washington Monument. We have trees, a park-like environment with lots of grass. Also, at 12 noon on a summer day, you will have many tourists near the Washington Monument. So look over your data. Do you have any ideograms representing water, land, subjects, structure? These are appropriate ideograms for this target. Look also at your Phase 3 diagram. Do not expect it to be a photographic representation of the target, but look for telltale signs that you are perceiving some aspects of the target. Carefully look over all of your data, and then take a break of at least one hour before beginning with the next lesson.