SRV Lesson 15 Transcript

We are now ready to begin our next remote viewing session. You should have already completed your consciousness settling procedure and you should have recited the SRV affirmation. You are now sitting at your desk comfortably, feet flat on the floor, relaxed, a stack of white paper off to the right-hand side, your desk clear except for the paper that you are going to write on. You put your name in the upper right-hand corner. Do that now. Underneath your name, put the date, the number, the month, and then the year. Do that now. Underneath the date, put the time. Check your watch. What time is it that you are beginning the session? Then write that down. On the left-hand 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 then declare your physical state. Do that now. Under that, write capital ES dash and now declare your emotional state. Do that now. Underneath that, write capital AP dash and then declare any advanced perceptuals which you may have. Put the pen down, relax, feet flat on the floor, good posture, pick the pen back up, move your hand over to the left side of the page, and prepare to receive the target coordinates. Ready? Here we go. 5, 8, 3, 2, 4, 8, 0, 3, capital A, colon. Describe the movement of the pen with words. Do that now. Now probe the ideogram with the point of the pen. What does it feel like? Perceive your primitive descriptor. Is it hard, soft, semi-hard, semi-soft, wet, or mushy? Write it down underneath the description of the movement of the pen. Probe the ideogram again to perceive your advanced descriptor. Is it natural, man-made, artificial, movement, energetics? Which is it? Write it down underneath the primitive descriptor. Underneath that, write capital B, colon, and declare your B. Again, no B is fine, but if you have a B, be sure to declare it. Do that now. Underneath that, write capital C, colon. Probe the ideogram again. Write down your perceptions of the target as it is represented through this ideogram. In C. Continue to probe the ideogram, writing down your perceptions of the target. In C. In C. Feel the target. Feel the target. All right, take this page. Put it off to the upper left-hand side of the desk. Get a new piece of paper. Number it page 2. And prepare to receive the target coordinates. Ready? Here we go. 5, 8, 3, 2, 4, 8, 0, 3 A. Describe the movement of the pen with words. Do that now. Probe the ideogram for your primitive descriptor and write it down. Do that now. Probe the ideogram again for your advanced descriptor. Do that now. Underneath that, declare your B. B, colon. Declare your B. Underneath that, write C, colon. Probe the ideogram again. Write down your perceptions of the target as you perceive them through this ideogram. Write them down in C. Probe, and then write your perception. Probe again, and write your perception, and so on. Do that now. All right. Take the piece of paper. Put it off to the upper left. Take a new piece of paper. Number it page 3. And prepare to receive the target coordinates. Ready? Here we go. 5, 8, 3, 2, 4, 8, 0, 3 A. Describe the movement of the pen with words. Do that now. Probe the ideogram for your primitive descriptor. Do that now, and write it down. Probe the ideogram again for your advanced descriptor. Write it down. Do that now. B, colon. Declare your B. C, colon. Probe the ideogram again. After each probing, write down your perception of the target. Do that now. All right. Take this piece of paper. Put it off with the other pieces of paper, which are already completed, to the upper left-hand side of the desk. Take a new piece of paper. Put a page number of 4 for the new piece of paper. Relax. Feet on the floor. Good posture. And prepare to receive the target coordinates. Ready? Here we go. 5, 8, 3, 2, 4, 8, 0, 3 A. Describe the movement of the pen with words. Probe the ideogram for your primitive descriptor. Probe the ideogram again for your advanced descriptor. B, colon. Declare your B. C, colon. Probe the ideogram again and write down your perceptions. In C. Do that now. Probe and then write down your perceptions one after the other. In C. Probe and then write down your perceptions one after the other. Take a piece of paper and put it off to the upper left corner of the desk with the other pages. Take a new piece of paper. Number it page 5. Relax. Feet on the floor. Good posture. You can shake the hand out if you need to. Keep your hand relaxed. All right. Now let's prepare to receive the target coordinates. Ready? 5, 8, 3, 2, 4, 8, 0, 3 A. Describe the movement of the pen with words. Describe the movement of the pen with words. Probe the ideogram for your primitive descriptor. Describe the movement of the pen with words. Probe the ideogram again for your primitive descriptor. Describe the movement of the pen for your primitive or advanced descriptor. B colon. Declare your B. C colon. Probe the ideogram again. After each probe, write down your perceptions of the target in C. Describe the movement of the pen with words. Take this piece of paper. Put it off to the upper left-hand corner of the desk with the other finished pieces of paper. Get a new piece of paper. Write the page number 6 in the upper right-hand corner. And write P2, or Phase 2, in the top center of the page. On the left-hand side of the page, write Sounds colon. You may probe the colon. What sounds do you perceive at the target? Underneath that, again on the left, write Textures colon. Underneath that, to the left, write Temps for temperatures colon. You may probe the colon. What temperatures do you perceive at the target? Underneath that, to the left, write Visuals colon. And then under that, indented, write Colors dash. What colors do you perceive? You may probe the dash. What colors do you perceive at the target? Underneath that, indented, write Lum, L-U-M, for luminescence. Followed by a dash. You may probe the dash. What luminescence do you perceive? Bright, dull, dark, glowing? What luminescence do you perceive? Under that, indented, write Contrasts. Followed by a dash. What contrasts do you perceive? High, medium, or low? Write it down. Underneath that, all the way to the left, not indented, but to the left, write Tastes, followed by a colon. You may probe the colon. What tastes do you perceive? Underneath that, to the left, Smells. Write Smells, followed by a colon. What smells do you perceive? Underneath that, indented, write Mags, M-A-G-S, followed by a colon. And under that, what verticals do you perceive? Write down your verticals. High, tall, towering, deep, short, squat. What verticals feel right for the target? Under that, what horizontals feel right for the target? Flat, wide, long, opened, thin. What horizontals feel right for the target? Write them down. Under that, what diagonals feel right for the target? Do you feel any diagonals? Write them down. Under that, what topology feels right for the target? Topology. Curved, rounded, squarish, angular, flat, pointed, or other. What topology feels right for the target? Write it down. Under that, write down what perceptions you have for mass, density, space, volume. Do that now. Under that, write down your perceptions for energetics. What energetics do you perceive? Write it down. Under that, to the left, write capital VF-. Declare your viewer feeling. How does the target make you feel? Write down your feelings. Then put the pen down. Take this piece of paper. Put it off to the upper left with the other finished pieces of paper. Get a new piece of paper. Position the paper in the landscape mode, which is the long ways is positioned horizontally. Number the page in the upper right hand corner, page 7. In the center top of the page, put capital P3 for phase 3. Feet on the floor, back straight, good posture. Look down at the piece of paper. Draw the target. What lines do you perceive? Where should they go? Draw what you feel about the target. Do that now. You can check back with your dimensional magnitudes in phase 2 to see if there are any magnitudes such as verticals, horizontals, or diagonals. That you may want to include in your phase 3 sketch. Feel where the lines should be on the page. Draw them in. Do not edit anything out. If you feel something should be there, put the line in. Draw it in. Take this page. Put it off to the upper left hand corner with the other pieces of paper that have been finished. Get a new piece of paper. Again, from now on, all of the pages will be positioned in the landscape orientation. In the upper right hand corner of the page, put a page number of 8. In the center top of the page, write P4 for phase 4. Along the top, a little below the P4, write the following labels for the columns of your phase 4 matrix. S for senses, M for magnitudes, VF for viewer feelings, E for emotionals, P for physicals, Draw a horizontal line. Put the pen down for just a second. Pick the pen back up. Probe the senses column under S. Probe the top of the senses column. What senses do you perceive? Write any perceptions down in the column. Probe the magnitudes column. What magnitudes do you perceive? Write them down in the magnitudes column. If you do not perceive anything, just leave the dot where you probed the column. Skip over the viewer feelings column and probe the emotionals column. What emotionals do you perceive at the target? After each entry into a column, you drop down before moving over to the next column. If you do not enter anything into a column and just leave a dot, then you simply move over to the next column without dropping down. Now probe the physicals column. What physical things do you perceive at the target? Remember to describe these things with low-level terms. Any high-level terms can be put off as deductions in the far right-hand column with a capital D dash in front of the deduction. Always put the pen down after every deduction for a moment. Pick it back up. Probe the subspace column. Probe the concepts column. Probe the guided deductions column. Any thoughts, any conclusions, write them down. If you do have a guided deduction, put the pen down and pick it back up. Move over to the left. Probe the senses column again. Write down any perceptions you may have relating to the senses. If you perceive something else while you are probing the senses column, be sure to enter it in the correct column. Probe the magnitudes column. Probe the emotionals column. Continue on your own, probing the physicals column, then the other columns. Always skip over the viewer feelings and the deductions column, but probe all of the other columns. Do this on your own, one column after the next, and after you finish, continue back with the senses column. Do that now. Keep probing and writing down your perceptions, feeling what's there at the target. www.mooji.org www.mooji.org www.mooji.org If the flow of the data slow, then go back to the emotions column. And probe the emotions column specifically to pick up the flow of the data again. And then continue with probing the other columns. Continue to probe now. www.mooji.org Return to the Phase 3 sketch. Probe some of the lines and spaces in the Phase 3 sketch. What do you perceive in those areas? Write them down in the appropriate columns. Do that now. www.mooji.org Remember to keep your descriptions of the data at a low level. Any high level descriptions put off as deductions. Continue to probe the Phase 3 sketch. www.mooji.org Enter all of your perceptions in the Phase 4 matrix. If you need to write something that's longer than just a word or two, write a P4. 5 followed by a dash. And write out what you perceive. www.mooji.org Be sure to get a clean, new piece of paper. And write another Phase 4 matrix on top. Probe with all of the columns as soon as you have filled in your first page. You can have many pages of Phase 4 matrices. When one page is full, get another page. Write a new page number in the upper right hand corner. Capital P4 at the top center of the page. And rewrite your matrix headings. S, M, VF, E, P, Sub, C, GD, and D. Draw a line under the headings and continue to probe the columns. If you do not finish the probing of all columns in one piece of paper for one matrix, continue probing in the next page where you left off in the previous page. You do not need to begin probing your senses column with a new piece of paper with a new matrix in Phase 4. Simply continue where you left off. If your last probe in your previous page was in the Emotionals column, then your first probe in your next page will be in the Physicals column. Continue to probe the matrix. Do that now. If you perceive another visual impression, write P4 1/2 S in the Physicals column. Then get a new piece of paper. Give it the same page number as the matrix page which you are currently working on in Phase 4, but put an A after the page number, and then write P4 1/2 S in the top center of the page, and then sketch on the page whatever your visual impression is. After you have sketched your visual impression, go back to the matrix where you last left off and continue to probe the matrix. Continue to probe the matrix now. Remember not to edit anything out. If you perceive something, write it down. Never doubt your perceptions, just write them down. We can always sort them out afterwards, but write everything down now. All right. At the bottom of whichever Phase 4 matrix page you are on now, write END. Look at your watch. What time is it? What is your ending time? Write that down. And now let us arrange our pieces of paper across the desk so that you can see all of the pages. And I will now give you the target for this session. This is the target specific for this session, the specific content of the target. You can listen to it first, and then I will repeat it again slowly for you to write it down. Here it is. The launching and flight of the Space Shuttle Endeavor between the period the 2nd to the 18th of March 1995. I will repeat it slowly and write it down on the last page of the session. The launching and flight of the Space Shuttle Endeavor, E-N-D-E-A-V-O-R, parenthesis, 2-18, March 1995, close parenthesis. Let us now look over your data. Let us look over all of the Phase 1, Phase 2, Phase 3, and Phase 4 data. Notice that when I was monitoring you for Phase 1, 2, and 3, I went more quickly than I had in the past. This will be a continual feature, as I have mentioned before, of your training. Notice also that I often talked during your session, reminding you to do things, telling you more information. This is also very common with regard to initial training. This distracts the mind while at the same time gives you further instruction. This distraction helps the subspace mind to get the information through. Sometimes my talking during the session can even be a bit irritating, and that's all right. It's a little irritating sometimes to the conscious level, but at the same time you're learning more as I continue to talk, and the conscious mind, if irritated, thus becomes more occupied with this irritation, and the subspace mind has a clearer channel to get the information through to you. We will be leaving this as we proceed to the later lessons. Ultimately, you want to be able to do your session in complete silence, without any irritation, without anyone talking. But in this initial training period, we combine both talking, instruction, and probing together. Now look over all of your data. Notice that this particular target, the launching and flight of the Space Shuttle Endeavor, could have been started or picked up at any point by you, the viewer. You could have gone to the actual launching. You could have gone to any point in the flight. Thus you could have found yourself in this session either in space, or on ground, or somewhere in the middle, en route between the ground and the space. There is definitely a structure associated with this target. We are talking about a target that is located at Cape Canaveral in Florida. The launching pad is located on flat land, but that land is also very close to the Atlantic Ocean. So you may have picked up land and also water in your ideograms. The two primary structures, the Space Shuttle and the launching pad, may also be represented in one or more of your ideograms. Since the target covers the entire period from the launch through the flight, you may have also perceived something round, which could have been the Earth, as seen from the shuttle when it was in space. Another aspect of this target is, of course, energetics. The shuttle lifts off with a tremendous amount of fiery energetics. There are two types of energetics associated with this target. The first is the fiery exhaust and all of the smoke that comes out. The second is the very rapid kinetic movement, the trajectory of the shuttle itself, as it lifts off from the launching pad and moves through the atmosphere into space. Remember that there are subjects associated with the launch and flight of the Space Shuttle Endeavor. There are subjects inside the Space Shuttle, but there are also subjects on the ground in structures. Some people are standing outside on land, watching the Space Shuttle go up. So it is possible that some of your impressions might reveal the audience, or the spectators that are watching the shuttle, or the technicians and the managers who are managing the flight of the Space Shuttle at Cape Canaveral or possibly even elsewhere in the nation at tracking facilities. Thus, this target, typical of all targets, has many complex components associated with it, and they all interweave together. Your session probably reveals one or more of these aspects. Be sure to look over all of your data. Do not be discouraged by any decoding errors which you may find. Decoding errors are common to all viewers. You get better as you practice more, but no one is perfect. So relax. Look over all of your data and see where you did perceive the target correctly. It is very common for many new students of remote viewing to look over their areas of the session in which the decoding was not so accurate and to say, Oh, I knew that's what it was. It was that. There is this moment when the realization of that feeling, that intuition gets matched to an understanding of what that aspect of the target is. That is a very powerful moment in the training of all new viewers. So look over your session. The decoding errors are as important as the correct decoding. So you look over all of it, reminding yourself that remote viewing is very much like anything else, playing the violin, playing the piano, playing some other instrument, learning a Those are good analogies. The more you work at it, the better you get. At this point, why don't you put your session off to the side for a few minutes while I continue with a little bit more of a discussion of a certain type of cueing exercise. We will start with a Level 1 movement exercise and then move on to a Level 2 movement exercise. The Level 1 movement exercise is performed in Phase 4. Level 1 movement exercises essentially return the viewer to a modified form of Phase 1. An ideogram is drawn, and it is decoded, just like you do in Phase 1. And the person returns to Phase 2 and 3 before again arriving at Phase 4. Now we do this for two reasons. First, if your session is a monitored session, and the monitor is concerned that the viewer may have been wandering off the target, a Level 1 movement exercise generally returns the viewer back to the target. The other reason that the viewer may need to use a Level 1 movement exercise is that there may be a need to relocate the perception of the viewer to another area related to the target that may be very substantially different from the area being probed so far. The new Phase 1 through Phase 3 information may help the viewer differentiate between the two target-related sites that may be very different. When we do a Level 1 movement exercise, we do only one ideogram, not like in Phase 1 where we do multiple ideograms one after the other. The cue for the one ideogram that we draw with a Level 1 movement exercise is written in Phase 4 in the matrix from left to right across the page. Usually half a page is needed for the Level 1 movement exercise. Otherwise, you need to use a new piece of paper. If your matrix is already almost entirely full, then just take that page and put it off to the side. Then get a new piece of paper, put a new page number on it. The Phase 4 matrix does not need to be rewritten on the new piece of paper. The process of a Level 1 movement exercise is to write a verbal cue followed by an ideogram, followed by your A, B, and C, just like in a normal Phase 1 situation. And then to go to a new piece of paper to do a Phase 2, and a new piece of paper to do a Phase 3, and then back into Phase 4 again. The cue for the Level 1 movement exercise is a verbal cue, not a set of target coordinates. And the cue is longer than the target coordinates were in Phase 1. The viewer writes the cue, either in the Phase 4 matrix, if there was enough room, or on the new piece of paper. And immediately after writing the cue, the viewer places the point of the pen to the right of the cue and draws an ideogram. The ideogram is then decoded in the manner of all Phase 1 ideograms. I will now give you some of the most common Level 1 movement cues. These cues would normally be spoken by the monitor. The viewer writes down every word and then draws the ideogram. Here is the most common cue that is given for a Level 1 movement exercise. From the center of the target, something should be perceivable. The viewer writes every word down, puts the point of the pen immediately to the right of the last word, perceivable, and the ideogram is drawn. Again, that cue is, from the center of the target, something should be perceivable. Sometimes the monitor may say, from the center of the target site, or from the center of the target area, something should be perceivable. Depending on whether the monitor wants the viewer to focus on one spot or a more general location. Another Level 1 movement exercise is the following. From 1,000 feet above the target, something should be perceivable. Now, this cue can be varied. Different distances can be used. So, it can be from 1,000 feet or any alternative lengthy distance. And you can say, from 1,000 feet above, or you can say, to the north, south, east, or west, or some specified direction. From the target, something should be perceivable. So, the idea of moving the viewer away from the target, away from the center of the target, some distance, 1 mile, 2 miles, 5 miles, 2,000 feet, 1 kilometer, whatever the distance may be, takes the viewer's perspective and removes the viewer's perspective from the center so that the viewer can get a wide-angle perspective of where they are. For example, if the viewer is at some location and the monitor needs to know where that location is, the monitor may send the viewer 4,000 feet up or 2,000 feet up so that the viewer can look around to see if there are any mountain ranges, any bodies of water, any other significant land features that may be of interest. Also, this type of cue is normally not a good cue to use as the first level 1 movement exercise. What you're doing is you're taking the viewer and removing the viewer from the center of the target, which is normally the exact opposite of what you want to do. So, a level 1 movement exercise that removes the viewer from the center of the target should usually be given under one of two conditions. Up until that point in the session, if the data and the session are progressing smoothly and the basic target objectives have already been achieved, then the monitor can give a level 1 movement exercise that removes the viewer from the center of the target so the But if the monitor is concerned that the information is not yet satisfactory for completing the overall objective of the target, then the monitor would want to first use a level 1 movement exercise that brought the viewer to the center of the target and refocused the viewer's perceptions on the most important aspects of the target. A second level 1 movement exercise can then be done later in order to get a peripheral view by sending the viewer 1,000 feet up, 2,000 feet up, or some distance to the north, south, and so on. So, the level 1 movement exercise that removes the viewer's perception from the center of the target is done only under the conditions in where the session has gone on satisfactorily and the data accurately describe the essential components of the target in a way that satisfies the objective of the session. Or, that type of level 1 movement exercise is done as a second level 1 movement exercise, where the first level 1 movement exercise instead brings the viewer back to the center of the target. A third cue that is sometimes used for a level 1 movement exercise is as follows. Immediately to the left of the target, something should be perceivable. Variations on this cue are as follows. Immediately to the right, or in front of, or behind the target, something should be perceivable. This type of cue would be used if the monitor wanted to reorient the viewer to something else that is already at the center of the target site, but the viewer is looking at one thing and the monitor wants to reorient the viewer to something else. Very often a level 2 movement exercise can achieve the same thing, but sometimes the viewer needs to clarify the perceptions if the session is getting a little foggy, and a level 1 movement exercise can often produce that level of clarity, even if the viewer is only shifting his or her perception a small amount. A fourth level 1 movement exercise is as follows. From the center of the target, the target person should be perceivable. This cue can be changed in the following manner. From the center of the target area, or site, the target person, or object, should be perceivable. This type of cue is very similar to the preceding cue. You're staying at the target center, but you're shifting your perception to some spot at the target center, or some person, or some object at the center. A fifth type of cue for a level 1 movement exercise is from the inside of the structure, something should be perceivable. This would be done if the structure was already perceived at the target site, and the monitor wanted the viewer to move inside the structure. As with a few of these level 1 movement exercises, level 2 movement exercises could achieve the same thing, but again, you use a level 1 movement exercise, especially if the viewer needs to refocus, re-clarify the details of the session. If things are getting a little foggy, a little fuzzy, then a level 1 movement exercise really helps to clean things up. Now, after writing the level 1 movement exercise cue, you draw your ideogram. You have your A, B, C, and then you go into phase 2, and then phase 3. Now, note that this is quite disruptive to the flow of phase 4. When you use a level 1 movement exercise in phase 4, you really abandon the line of inquiry that you were pursuing previously in the session, and start all over again. It refocuses, reorients, so it is more disruptive to the previous flow of the session than a level 2 movement exercise. We're going to be talking more about level 2 movement exercises after the next lesson, but right now, since I've mentioned level 2 movement exercises a little bit already, I want to briefly state that a level 2 movement exercise is also used to move the perception of the viewer from one location to another, but it is much less disruptive to the previous flow of the session. You don't break out of phase 4 and go into phase 2 and then phase 3. Level 1 movement exercises are the most powerful of all of the level 1, 2, and 3 movement exercises, in the sense that they take the viewer, refocus the viewer, snap the viewer back on target, and get the viewer going again with a clearer perspective. But advanced viewers use level 1 movement exercises less often, and shift around the target more with level 2 movement exercises. However, for new viewers, level 1 movement exercises can be very powerful instruments to refocus a session and bring it back on track. We are now ready to move on to our next lesson. Make sure you take a break of at least one hour before proceeding to the next lesson. Also remember to do your CSP, your Consciousness Settling Procedure, and to recite the SRV affirmation before the next lesson.