SRV Lesson 14 Transcript

We are continuing our discussion of Phase 4 and low-level and high-level data. To further clarify the difference between low-level and high-level data, I'm going to give some examples of each. In each case, it is safer deducting the high-level data while entering the low-level data in the appropriate columns elsewhere in the Phase 4 matrix. Maintaining a consistent stream of descriptive low-level data is perhaps the single most important criterion affecting the overall quality and usefulness of the remote viewing session. Here are some examples. Explosive energy is low-level. A bomb blast is high-level. Sand, water, salty tastes, waves, perfume. Those are low-level perceptions. A beach is high-level. Squirmy, primitive, scaly animal life is a low-level description. Dinosaurs is high-level. A tall structure with many floors. That is low-level. A skyscraper is high-level. A booming sound is low-level. An explosion is high-level. Sloping, dry land with energetics or intense heat at the top. That is a low-level description. A volcano is high-level. Many rooms side-by-side in a multi-floor structure. That is low-level. A hotel is high-level. A gathering of important subjects. That is low-level. The UN Security Council is high-level. We are now going to move on to another area of Phase 4, but you will see that the relationship between high-level and low-level data is going to come back constantly throughout all of your work with scientific remote viewing. Remember that for the highest levels of accuracy, keep your descriptions as low-level as possible. Now sometimes, when you're probing the Phase 4 matrix, you need to express something that cannot be said in just one word. Most data that are entered in the Phase 4 matrix are single words placed in the appropriate columns. However, sometimes you will need to say more than can fit in a column. This typically results after you have recorded a number of low-level data items that you later feel need to be connected in some way. A longer data entry that acts to organize or collect a number of separate gestalts is written as a P4 1/2. This begins on the left side of the Phase 4 matrix. On the left side, the viewer writes capital P, the number 4, and then the number 1/2, written in the normal way of writing a fraction, a 1, and then a line underneath, and then the number 2. And then you put a dash, followed by a sentence or a phrase, writing from left to right across the page. The P4 1/2 entry is rarely more than one sentence. Indeed, anything more than one sentence is normally to be avoided. It is better to write two or more P4 1/2 entries sequentially than to attempt to write an extended discussion of the data in only one P4 1/2. Entries that are too long risk shifting from recording perceptions to conscious mind analysis. Advanced remote viewers find P4 1/2 entries most useful, especially after they have established thorough target contact. But new viewers must watch out, since they tend to use P4 1/2 entries indiscriminately. Evidence of this is typically the appearance of a P4 1/2 entry that is not immediately preceded by a number of related single-word entries in the appropriate columns. Thus, the P4 1/2 entries should ideally relate to and organize already perceived data. They definitely should not appear to come out of the blue. There is another form of a P4 1/2 entry. This is a P4 1/2s entry. A P4 1/2s is the same as a P4 1/2, but it is a sketch rather than a verbal description. When the viewer perceives some visual data in Phase 4 that can be sketched, the viewer writes P4 1/2 in either the physicals or the subspace column, depending on whether the sketch is to be of something in physical reality or subspace reality. The viewer then takes another piece of paper, positions it in the landscape orientation, labels it P4 1/2s centered at the top, and gives it a page number that is the same as the matrix page containing the column entry P4 1/2, but you append an A to the page number. Thus, if the entry for the P4 1/2s is located on page 9, say in the physicals column, then the P4 1/2 sketch is located on page 9A. This finishes the discussion of the basic mechanics of Phase 4 in basic SRV. Now we need to talk about the overall process of Phase 4. Probing the Phase 4 matrix has three distinct stages. When first entering Phase 4, you simply probe the matrix as I have already described. This is referenced as probing the matrix raw. New viewers should be sure to obtain at least two pages of Phase 4 data. This quantitative requirement is used to prevent viewers from giving up too easily in the beginning. In the beginning, new viewers are usually quite skeptical about their own viewing and the data that they are recording. Since this skepticism is rooted in the conscious mind, it's not a serious concern during the training process. Indeed, having the conscious mind preoccupied with skeptical thoughts can be a real advantage for someone just beginning to learn remote viewing, since it clears the way for the subspace mind to slip the data past the reviewing process of the conscious mind. Again, to probe the matrix raw is the first part of the first distinct stage of the Phase 4 process. After a couple pages of probing the matrix raw, the viewer begins to work the target. Advanced remote viewers treat their entry into Phase 4 as a means of obtaining crucially important information about a target. This requires advanced viewers to continue longer in Phase 4 while they work the target. The process of working the target is to follow the subspace signal intuitively through all of its various leads. Viewers obtain a rich collection of data by looking around, so to speak. If they find a structure, their intuitive sense tells whether it is important to know more about the structure. They describe it more thoroughly, moving inside the structure when needed to complete the description. The viewers may also describe the surface on which the structure is located. Also, they can describe the physical activities of the people outside and inside the structure, even locating a significant person who may be crucial to resolving the target cue. All of this is felt through strong intuitive tugs that direct the viewer's awareness in the appropriate directions. Working the target also includes tying together low-level data in P4. 5 entries. When a viewer works a target, the viewer typically perceives some physical item and describes this item in low-level terms. This observation leads to another related observation, which in turn leads to another and another and so on. After a number of low-level observations have been made, the viewer begins to connect the dots, so to speak. A statement that pulls it all together, made as a P4. 5 entry, is itself a low-level description of the target or of a fragment of the target. The statement does not label the target aspect. For example, let us say that a viewer perceives wind, circular energy, extreme force, small flying pieces, and a vortex, all of these things being entered in the columns of the Phase IV matrix. The viewer could then state the following P4. 5, The viewer could also declare a deduction of a tornado. The word tornado is high-level, since it clearly labels the phenomenon. The description of the P4. 5 entry remains low-level, even though it ties together other low-level data entries. The viewer then continues on to the next group of objects in a similar fashion. This is the classic method of working the target. The second stage of the process of Phase IV is called returning to the emotionals. It happens after you probe the matrix raw and then begin to work the target. After a while, the flow of the data begin to slow while you are working the target, and further working of the target becomes repetitive and unproductive. You then need to execute the second of the big three matrix processes, Even though you have been regularly probing the emotionals with each horizontal pass through the Phase IV matrix, a special trip back to the emotionals column often restarts the flow of the data. The reason is that your attention has been on various aspects of the target, and the emotionals data perceived earlier may have been related to those aspects, such as the sense of anger that resulted from an argument that took place within a structure at the time. Returning specifically to the emotionals column for a special probing allows your subspace mind to shift its attention to other emotional data that could be more generally related to the target. For example,let us say the remote viewing target is the hostage crisis in Peru that began in December 1996. In this case,a group of Marxist guerrillas attacked Japanese embassy facilities in Peru and held a large number of hostages until a Peruvian commando raid rescued nearly all of them in late April 1997. In the initial approach to the target,the viewer may perceive fear among the hostages as well as aggression from the guerrillas. The viewer may also describe two groups of people in the structure,one group controlling another. After the data flow begins to slow,the viewer returns to the emotionals column and probes it again. This time,the viewer might perceive emotions of concern and concentration. This leads to perceiving the concepts of making a plan,waiting,rescue,high-level political involvement,and perhaps a commando operation. The viewer may also begin to perceive other people related to the target,such as a central figure,deducting a president,people with uniforms,deducting military personnel,and all this within a foreign setting,deducting Latin America. Note that the word deduct is used in the sense that it is a deduction being removed from the data flow. Data for emotionals often lead to other physical and conceptual data. This is because the emotions of people at a target site tend to reflect what is happening around them,which in turn is grounded in their physical setting. Returning to the emotionals column helps avoid what is known as the doorknobbing problem,in which the viewer focuses on one aspect of the target,such as a doorknob,while missing the broader picture,such as what else is going on in a room. Once the data flow is reinitiated,the viewer continues to work the target in the same manner as before. This is the second stage of the process of Phase 4. The third stage of the process of Phase 4 is to probe the Phase 3 sketch. After restarting the data flow by returning to the emotionals column,the collection of data will eventually begin either to slow or become repetitive as before. At this point,the viewer returns to the earlier Phase 3 sketch and begins to probe various aspects of the sketch. Remember,when the viewer does the Phase 3 sketch,it is impossible to know exactly what it represents. However,it does represent the viewer's initial visual impression of the target,especially with regard to the arrangements of lines and shapes. By placing the point of the pen in various locations of the sketch,probing,the viewer is shifting the focal point of awareness around the target location. This allows you,the viewer,to reinitiate the flow of data once again. You then return to the Phase 4 matrix and enter data in the appropriate columns. When probing the Phase 3 sketch,you are not trying to label or identify specific features of the sketch,although these can be described in low-level terms. More generally,you are simply using the sketch to obtain other low-level data by shifting your attention from one location to another. You can probe lines in the Phase 3 sketch,resolving some of the meaning of these lines using primitive and advanced descriptors,as in Phase 1. This is a good way of determining,for example,if there are,say,structures or beings at the target site,if this has not already been determined. You can also look for some interfaces in the Phase 3 sketch,interfaces such as Land Air,Land Water,Air Vacuum,Land Vacuum,Air Water. This is very helpful in determining various geographical features of the target site. For example,let's say that you have determined that a structure at the target site is located on top of a flat surface. If you probe below the structure and find water,and then probe above the structure and find air,you can then know that the structure is floating on water and is probably a boat,which is a useful deduction. If you determine that there is a structure in the Phase 3 sketch,and that the structure has air inside and vacuum above and below the structure,then the structure is most likely in space. Spacecraft would be a deduction. If the structure is on a flat surface,and the surface is hard and natural,and thus land,and above the structure is air,then you know that the target involves a structure on flat land. If you probe on both sides of a line in the Phase 3 sketch,finding water on one side and dry land on the other,then you know that the target involves a land-water interface,and you may deduct a beach. We are now going to be talking about something called queuing in Phase 4. Queuing allows the viewer to focus in on one or more aspects of the target that are of particular interest. Queuing can be very useful for shifting the viewer's perspective in time or space from one spot to another,from one person to another,from one location or one time to another. Queuing is very useful to get more detailed information about one particular part of the larger target. The basic mechanics of queuing involve the viewer writing a word in an appropriate column. The word is written in either parentheses or square brackets,and I'll explain which ones you use in just a moment. And then the viewer touches the word with the point of the pen. The word written in the column is the cue. Using the pen to touch the word focuses the attention of the subspace mind on that target aspect that is relevant to the cue. And the resulting stream of data that occurs after touching the point of the pen to the word in the column is then entered into the matrix in the appropriate columns below the cue. Words that originate from the viewer's own data can be entered as cues in their appropriate column in parentheses. Cues that are originating from a monitor or not from the viewer's own data, those type of cues are entered in the appropriate columns in square brackets. If the monitor's words are used to construct a cue, then the cue should not be leading and it should be very closely tied to the viewer's currently existing data. For example, if a viewer perceives a building, then the monitor may suggest that the viewer cue on activity by writing the word activity in square brackets in the concepts column, and then probing the word and entering the resulting data in the appropriate column in the matrix. Notice that the word activity is non-leading. It doesn't tell the viewer any specific type of activity, just in general, anything that's going on, note it. And that the word is entered in square brackets, meaning that it's not the viewer's words, the viewer did not write activity earlier on in the session, it's a word that the monitor came up with. So that's why you use square brackets in that case. If, however, the viewer had earlier said, there is a lot of activity at this target site, then the word activity could be entered in parentheses rather than square brackets in the matrix. The reason we use parentheses or square brackets is so that someone looking at the session at a later time can look at the cue and then know, just by looking at it, whether it was something that originated from the viewer's own data or whether it was something that originated from the monitor. Again, square brackets indicate that the cue came from outside of the viewer's earlier perceptions, and parentheses indicate that the cue came from within the viewer's earlier perceptions. The last thing that we are going to do for this lesson before proceeding on with the next scientific remote viewing session is to talk about a particular type of cue that is longer, more involved. We call this type of cue a movement exercise. There are three different types of movement exercises. The types are called Level 1 Movement Exercise, Level 2 Movement Exercise, and Level 3 Movement Exercise. We are going to begin our discussion of movement exercises by first starting with a Level 3 Movement Exercise. We begin with a Level 3 Movement Exercise because it is the exercise that is the closest, most similar to general cueing. Level 3 Movement Exercises are the most subtle of the three different types of movement exercises. A Level 3 Movement Exercise very subtly shifts the viewer's awareness without breaking the flow of the data. The movement is executed by placing a very brief cue, usually only one or two words, in the appropriate column of the Phase 4 matrix, and then the viewer touches the cue with the point of the pen and begins entering the data. The cue can be a word originating from the viewer, and of course, that would be entered into the matrix using parentheses. Again, if the cue originates from the monitor, we use square brackets. Let's give an example. The viewer perceives two beings, a male and a female, separated by, say, a road. The viewer could move from the male to the female by putting female in parentheses in the Physicals column, probing this with the pen, and then continuing with the collection of data in the Phase 4 matrix. By probing the word female in the Physicals column, the viewer's awareness instantly shifts over to the other being, the female that's on the other side of the road. It is very useful to know that these shifts in perspective from one location to another are not limited by geographical distance. The exact same procedure can be used to shift one's perspective from one spot on the planet to another spot on the planet, or even to another planet. Proceed now to the next lesson. Be sure to perform CSP and to recite the SRV affirmation before starting the next lesson.