SRV Lesson 16 Transcript

We are now ready to begin our next scientific remote viewing session. You should already have completed CSP, the Consciousness Settling Procedure, and you have recited the SRV affirmation. The stack of white paper is off to your right-hand side. Your desk is clear. You are sitting comfortably at your desk, feet on the floor, good posture. You have one piece of paper in front of you, oriented in the portrait mode. Now, fill out the header, your name in the upper right-hand corner, then the date, then the time. Do that now. On the left side of the paper at the top, data colon type four, under that, monitor colon Courtney Brown. In the top center, capital PS dash, your physical state, declare your physical state. Under that, in the center, ES dash, your emotional state, declare that. Under that, AP dash, declare any advanced perceptuals, relax, good posture, hand over to the left side of the page, and prepare to receive the target coordinates. Here they are. One, two, six, two, two, eight, zero, nine, A. Describe the movement of the pen with words. Do that now. 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 after each probe, write down your perceptions in C. Remember to keep your C data very low level, mostly sensory data, but anything that is also acceptable here in C, but mostly sensory data. Take this page and put it off to the left, take a new piece of paper, number it page two, and prepare to receive the target coordinates. Here we go. One, two, six, two, two, eight, zero, nine, A. Describe the movement of the pen with words. Probe the ideogram for your primitive descriptor. Probe the ideogram again for your advanced descriptor. Declare your B. B colon, declare your B. C colon, probe the ideogram again, and after each probe, enter your perceptions in C. Take this paper, put it off to the left, get a new piece of paper, number it page three, and prepare to receive the target coordinates. Here we go. One, two, six, two, two, eight, zero, nine, A. Describe the movement of the pen with words. Probe the ideogram for your primitive descriptor. Probe the ideogram again for your advanced descriptor. Declare your B. B colon, declare your B. B colon, probe the ideogram again. After each one of your probes, enter your perceptions in C. Take this piece of paper, put it off to the left, take a new piece of paper, number it page four, and prepare to receive the target coordinates. Here we go. One, two, six, two, two, eight, zero, nine, 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. After each of your probes, enter your perceptions in C. Take this piece of paper, put it off to the left, take a new piece of paper, number it page four, and prepare to receive the target coordinates. Take this paper, put it off to the left, take another piece of paper, number it page five, and prepare to receive the target coordinates. Here we go. One, two, six, two, two, eight, zero, nine, 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. After each probe, enter your perceptions in C. Take this piece of paper, put it off to the left, take a new piece of paper, number it page four, and prepare to receive the target coordinates. Take this piece of paper, put it off to the left, take a new piece of paper, number it page six. In the top center of the page, write capital P2 for phase two. On the left side of the page, write sounds colon, what sounds do you perceive? Under that, textures colon, what textures do you perceive? Under that, write temps, T-E-M-P-S colon, what temperatures do you perceive? Under that, write temperature, T-E-M-P-S colon, what temperature do you perceive? Write visuals colon, under that indent, write colors dash, what colors do you perceive? Under that indent, write L-U-M-S dash, for luminescence, what luminescence do you perceive? Under that indent, write contrasts dash, what contrasts do you perceive? Under that, all the way to the left, write tastes colon, what tastes do you perceive? Under that, all the way to the left, write smells colon, what smells do you perceive? Under that, indented, write M-A-G-S mags colon, under that indented further, what verticals do you perceive? Under that, again indented, what horizontals do you perceive? Under that, again indented, what diagonals do you perceive? Under that, again indented, what topology do you perceive? Under that, indented, what mass, density, space, or volume do you perceive? Under that, indented, what energetics do you perceive? Under that, all the way to the left, write capital V-F dash, declare your viewer feelings, do that now, and then put the pen down. Take a new piece of paper. From now on, position the pages in landscape orientation. Page number in the upper right-hand corner, page 7. At the top, P3 for phase 3. Sit straight, feet on the ground. You can look back at any of your dimensional magnitudes in phase 2 to help you sketch the target, if you desire. Take this paper, put it off to the left, take a new piece of paper, number it page 7, write P4 at the top, and right under that, across the entire top of the page, write the matrix column headings. S for senses, M for magnitudes, VF for viewer feelings, E for emotionals, P for physicals, SUB for subspace, C for concepts, GD for guided deduction, D for deduction. Put a long horizontal line underneath all of the headings. Probe the senses column. What senses do you perceive? Enter that now in the appropriate column. Probe the magnitudes column. What magnitudes do you perceive? Enter that now in the magnitudes column. Skip over VF, probe the emotionals column. What emotionals do you perceive? Probe the physicals column. What subspace aspects do you perceive? Probe the concepts column. Probe the guided deductions column. Skip over the deductions column, go back over to the left, and again probe the senses. Continue to probe the matrix from left to right. When you fill up the page, get a new page, number the page, put a P4 at the top, and write a header for all of the columns. Continue to probe the matrix now. Now I want you to spend some extra time probing the physicals and the emotionals column. Work on just the physicals and the emotionals columns. Back and forth between those two columns. What do you perceive? Now move over to the subspace column. What do you perceive? Probe the subspace column. Now I want you to probe the four columns, emotionals, physical, subspace, and concepts. Go back and forth along those four columns, emotionals, physicals, subspace, and concepts. Now go back to the emotionals column. Probe the emotions column. Probe the emotionals column and see if the flow of the data. Restart and then again go through all of the columns from left to right. Do not worry if you begin to perceive things out of the order of the columns that you are probing. Enter all of your data in the correct columns for each perception. Continue to probe the columns. Now go back to your phase 3 sketch. Probe some of the areas in the phase 3 sketch to see if you have new perceptions about the target. Enter them in the appropriate columns in phase 4. Now go back to your phase 3 sketch. Probe some of the areas in the phase 3 sketch to see if you have new perceptions about the target. Prepare for a level 1 movement exercise. If the page which you are currently working on is more than half empty, you may use that page. If you need a new piece of paper, get it now and put a new page number in the upper right hand corner. Write down the Q exactly as I say it, immediately after you write the last letter of the last word and draw your ideogram. Here we go. Write this exactly. From the center of the target, something should be perceivable. A. Describe the movement of the pen with words. B. Probe the ideogram for your primitive descriptor. C. Probe the ideogram again for your advanced descriptor. B. Declare your B. C. Probe the ideogram again. After each description, write it down in C. Get a new piece of paper. Orient it in the portrait mode. Put a page number in the upper right hand corner and P2 for phase 2 in the top center of the page. On the left, write sounds, colon, what sounds do you perceive? Under that, on the left, textures, colon, what textures do you perceive? Under that, to the left, temps, what temperatures do you perceive? Under that, again on the left, visuals, colon, under that, indented, colors, dash, what colors do you perceive? Under that, again indented, lums for luminescence, dash, what luminescence do you perceive? Under that, again indented, contrasts, dash, what contrasts do you perceive? Under that, to the left, tastes, colon, what tastes do you perceive? Under that, to the left, smells, colon, what smells do you perceive? Under that, indented, mags, m-a-g-s, colon, under that, indented further, what verticals do you perceive? Under that, again indented, what diagonals do you perceive? Under that, again indented, what topology do you perceive? Under that, what mass, density, space, volume do you perceive? Under that, what energetics do you perceive? Under that, to the left, capital VF for viewer feelings, dash, declare your viewer feelings, and then put your pen down. Take this page, put it off to the left, get a new piece of paper, orient it in the landscape position, page number in the upper right hand corner, capital P3 at the top, sit straight, feet on the floor, look at the page, sketch the target. You can look back at your recent phase 2 magnitudes to see if you have any further information that you want to include in your phase 3 sketch. Take this piece of paper, put it off to the side, get a new piece of paper, put a page number in the upper right hand corner, the page is oriented in the landscape position, P4 at the top center, enter your column headings for your phase 4 matrix, at the top senses, S, magnitudes, M, your feelings, VF, emotionals, E, physicals, P, subspace, SUB, concepts, C, guided deduction, GD, deduction, D. Draw a long horizontal line underneath your column headings and begin to probe your phase 4 matrix by probing first in the senses column, then continue to probe in all of the columns, being sure to skip over the viewer feeling and deductions columns. Probe the columns now. When you need another piece of paper, take a new piece of paper, put it off to the side, another piece of paper, simply get another piece of paper, put a page number, P4 at the top, write all of your column headings and a long line underneath the headings and continue to probe the matrix. As we continue to work the target, focus in on your emotionals, physicals, subspace, and concepts column. Probe those four columns. Pay particular attention to the physicals and the concepts columns. As you work the matrix, probe the physicals column and the concepts column, going back to the emotionals column and the subspace column from time to time. Keep all of your data low-level, entering high-level data in the deductions column. Now make a special trip back to the emotionals column. Probe the emotionals column. See if the flow of the data restarts. Probe the emotionals column. Then go back through all of the columns in the matrix. Probe the emotionals column. Now go back to your Phase 3 sketch, the most recent Phase 3 sketch. Probe different lines and areas within the Phase 3 sketch. Enter any new perceptions in the Phase 4 matrix. When the data flow continues, probe all of the columns in the Phase 4 matrix. You can always focus in on the Physicals and the Concepts columns. When the data flow continues, probe all of the columns in the Phase 4 matrix. Alright, at the bottom of your Phase 4 matrix, the last page of Phase 4, write END, look at your watch, put down your ending time, be sure to put AM or PM, whichever it may be. Now I will tell you the target. I will say it once, and just listen. After that, I will repeat it again slowly, and you can write it down at the bottom of your last page of Phase 4. The target for this session is the eruption of Mount Vesuvius and the destruction of Pompeii and Herculaneum, Italy, circa 24 August, 79 AD. Now I'll say the target again, slowly. Write it down exactly as I speak it. The eruption of Mount Vesuvius and the destruction of Pompeii and Herculaneum, Herculaneum, Italy, circa 24 August, 79 AD. Close parenthesis. Sometimes we use the word circa, C-I-R-C-A, to indicate that the date may be approximate. We think that that is the actual date of the eruption, but just to be on the safe side with remote viewing. Since an error in a date could cause the session to go one way or another, we sometimes use circa. At this point, take all of your pages and spread them out all over your desk or table in the appropriate order so that you can look over your entire session as I talk about it. This is an interesting session. It has a lot of different gestalts in the target. There is, of course, a large mountain in the target. Look over some of your ideograms. See if there is any indication of a mountain. There is also land at this target site. Hard, dry land. There is also water at the target site. Many of the residents of Pompeii tried to escape the eruption by running to the sea. There is, of course, also the eruption itself. A tremendous amount of energetics are at this target. This is also an interesting target because there are many structures at the target and many people. The energetics are interacting with both the structures and the people. As the volcanic eruption continues, many people were buried in the lava. There is lots of smoke. People are running towards the sea. There is steam as the hot rocks hit the sea. The emotions, of course, of the people are very intense. So you should look over all of your data and see what aspects of this target you are able to correctly perceive. Again, remind yourself always that you are just beginning in this process. Sometimes you will perceive things very strongly. Other times there may be decoding errors and we don't worry about them, especially in this early stage of learning. Notice that my instructions while I was monitoring your session had you focus in on certain columns. In general, when you work the target, you want to focus in on the physicals and the concepts columns. But you also want to go back to the emotionals columns and the subspace columns to pick up other things that may be going on. When you work the target by focusing in on those four columns, and particularly the physicals and the concepts columns, you can only do that after you have already gone through all of the columns. So you never start the phase four matrix by focusing in on the physicals and the concepts columns. Rather, you always start using the phase four matrix by probing the senses column and then moving on to the right with all of the other columns. But working the target allows you to focus in on the physical things and the concepts that are related to those physical things. And then as you focus on the physical things, you'll want to pick up any emotionals and any subspace things or activity that may be present at the target. After this lesson is completed, you will have ample time to look over all of your pages of data and closely examine this session. For right now, let me continue to give some further instructions regarding level two movement exercises. Level two movement exercises are used to move the viewer from one location or target-related item to another without having the viewer having to leave phase four, as is done with a level one movement exercise. The level two exercise is not such a total break as a level one movement exercise, but neither is its shift in focus as subtle as a level three movement exercise. The cue for a level two movement exercise is essentially the same regardless of the situation, with only locational words being changed. Here is the cue. Move to the, and then you enter the new location or item, and describe. For example, I could say, move to the center of the target and describe. Or I could say, move to the period of construction and describe. Or I could say, move across the street and describe. Or I could say, move into the target structure and describe. Or, move to the central person at the target and describe. Or, move one mile up above the center of the target and describe. Or, move one hundred feet to the north of the target and describe. And so on. So, the level two movement exercise always begins with the three words, move to the, and it always ends with the two words, and describe. You always write down the exact level two movement cue. You write down each word. But after you write it down and you put a period at the end, you do not draw an ideogram. You simply go back to your phase four columns and continue to probe the matrix. So you're staying in phase four. You write a brief sentence that shifts your perspective from one target location or item to another, and you continue to probe in phase four in the normal way. Normally, the new target location or item should originate from the viewer's own data. The monitor can use his or her own words only to focus the viewer's attention on some particular generic component of the target. For example, the new target location or item can include phrases such as target subject, or target subjects, or target object. Now those words may not have come from the viewer's own data, but very generic, non-leading words like that can be used by the monitor. Otherwise, the monitor would use some phrase that came from the viewer's own data, and then the viewer would focus his or her attention on that particular aspect of the target. As with a level one cue, the level two cue is also written across the body of the phase four matrix from left to right. The viewer then continues to enter data in the same matrix in the normal fashion after writing the movement exercise cue. Again, there is no ideogram with a level two movement exercise. Personally, however, I find it useful from time to time to probe the last letter of the word describe in the level two cue in order to focus my attention. I like probing, and probing the last letter, the E, in the word describe helps me hold my attention on this new target location or item. The level two movement exercise can be a temporal or time shift as well. If that is done, the exercise cue follows the following format. Move to the time of whatever and describe. Let us say that the viewer has perceived a structure, and the monitor could give the level two temporal cue as follows. Move to the period of construction and describe. Also, you can write move to the period of activity and describe. That shifts the time period of the perception from one time to another. Okay, you are now ready to proceed with the next lesson. Be sure to take a one hour break at least before starting the next lesson. Also, remember to perform your consciousness settling procedure and to recite your SRV affirmation immediately prior to beginning the next lesson.