SRV Lesson 18 Transcript

We are now ready to begin our next scientific remote viewing session. You should already have completed your CSP, your Consciousness Settling Procedure, and have recited the SRV affirmation. You have a clear desk with a stack of paper on the right-hand side. You have one piece of paper in front of you. You're relaxed, feet on the floor, good posture. We write the header for the first page of the session, the name, date and time at the top right. On the left, data, colon, type four, monitor, colon, Courtney Brown. In the center at the top, PS dash, your physical state, ES dash, your emotional state, AP dash, any advanced perceptuals. Prepare now to receive the target coordinates. Here we go. 9, 6, 7, 1, 4, 0, 2, 6, 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. Enter your perceptions in C. Take this piece of paper, put it off to the upper left corner of the desk. Take a new piece of paper, number it page two. Prepare to receive the target coordinates. Here we go. 9, 6, 7, 1, 4, 0, 2, 6, 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, record your perceptions in C. Probe the ideogram again for your advanced descriptor. Take this piece of paper, put it off to the upper left. Take a new piece of paper, number it page three. Prepare to receive the target coordinates. 9, 6, 7, 1, 4, 0, 2, 6, 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. C, colon, probe the ideogram again. After each probe, record your perceptions in C. Continue to probe the ideogram. Take this piece of paper, put it off to the upper left. Take a new piece of paper, number it page four. Prepare to receive the target coordinates. Here we go. 9, 6, 7, 1, 4, 0, 2, 6, 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. Enter your perceptions in C. Keep probing the ideogram. Take this piece of paper, put it off to the upper left. Begin a new page, number it page five. Prepare to receive the target coordinates. Here we go. 9, 6, 7, 1, 4, 0, 2, 6, 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. Enter your perceptions in C. Never stop probing. You must keep probing. Take this piece of paper, put it off to the upper left. Take a new piece of paper, give it a page number. In the center at the top, write P2 for phase two. On the left, write sounds, colon. What sounds do you perceive? Under that, textures, colon. What textures do you perceive? Under that, temperatures, T-E-M-P-S, colon. What temperatures do you perceive? Under that, visuals, colon. Under that, indented, colors, dash. What colors do you perceive? Under that, indented, what luminescence, L-U-M, dash. Do you perceive? Under that, indented, contrasts, dash. What contrasts do you perceive? Under that, to the left, tastes. 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. Magnitudes. Under that, indented further, what verticals do you perceive? Under that, what horizontals do you perceive? Under that, what diagonals do you perceive? What topology do you perceive? What mass, density, space, or volume do you perceive? What energetics do you perceive? To the left, V-F, dash. Declare your viewer feelings. After you do this, put your pen down. Take this piece of paper, put it off to the left, take a new page, position it in the landscape orientation, give it a page number. P3 for phase three, at the center top. Sit straight, good posture, feet on the floor, relaxed, look at the page, sketch the target. Sit straight, good posture, feet on the floor, relaxed, look at the page, sketch the target. Sit straight, good posture, feet on the floor, relaxed, look at the page, sketch the target. To obtain further insights for your phase three sketch. Take this piece of paper, put it off to the left, take a new page, give it a page number. P4 at the top center, and write your phase four column headings across the top of the page. S for senses. M, magnitudes. V-F, viewer feelings. E, emotionals. P, physicals. Sub, S-U-B, subspace. C, concepts. G-D, guided deduction. D, deduction. Write a long horizontal line underneath the headings. Probe the senses column. Continue to probe all of the columns except the viewer feeling and deductions column. Probe your phase four matrix. Probe all of the columns except the viewer feeling and deductions column. Probe all of the columns except the viewer feeling and deductions column. You should be probing all of the columns except your viewer feeling and your deductions column. It is best to get at least two pages of phase four data before focusing on the physicals and concepts columns. Keep probing the matrix. Continue to work the target as you now begin to focus on the physicals and concepts columns. Remember also to probe the emotionals and subspace columns from time to time. Continue to probe all of the columns except the viewer feeling and deductions column. Return now to the emotionals column. Probe the emotionals column to reinitiate the flow of the data. Probe all of the columns except the viewer feelings and the deductions columns. After you probe all of the columns once, refocus on the physicals and the concepts columns. Begin now to probe your phase three sketch lines and spaces in the sketch. To obtain more intuitive perceptions of the target, remember to keep all of your data low level. Continue to probe all of the columns except the viewer feelings and the deductions columns. You can take pieces of the phase three sketch apart, probing lines, probing spaces, what is there in each spot. Remember to keep all data low level. After the data are flowing, remain in the phase four matrix, focusing on the physicals and concepts columns. Prepare now for a level one movement exercise. If you need a new piece of paper, get one now. You only need to put a page number in the upper right hand corner. Write down the cue exactly as I say it. You will draw an ideogram after the cue. Then you will decode the ideogram in the normal manner. If there is ever any confusion while drawing the ideogram, let whatever writing comes out happen. Do not stop the process. Remember that confusion is on the conscious level of the mind. Just continue doing the mechanics of the process. Here is the cue. Write it down exactly, then draw whatever comes out. Here we go. From the center of the target, something should be perceivable A. Describe the movement of the pen with words. Probe the ideogram for your primitive descriptor. B. Probe the ideogram again for your advanced descriptor. B. Declare your B. C. Probe the ideogram again. Enter your perceptions in C. Take this piece of paper, put it off to the left. Take a new piece of paper oriented in the portrait mode. Give it a page number. P2 at the top for phase 2. On the left, write sounds, what sounds do you perceive? Under that, textures, what textures do you perceive? Under that, to the left, temperatures, T-E-M-P-S colon, what temperatures do you perceive? Under that, to the left, visuals colon, under that, indented, colors, dash, what colors do you perceive? Under that, indented, colors, dash, what colors do you perceive? Under that, indented, luminescence, L-U-M, dash, what luminescence do you perceive? Under that, indented, contrasts, dash, what contrasts do you perceive? Under that, to the left, tastes colon, what tastes do you perceive? Under that, 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, what horizontals do you perceive? Under that, what diagonals do you perceive? Under that, what topology do you perceive? Under that, what mass, density, space, or volume do you perceive? Under that, what energetics do you perceive? To the left, V-F, dash, declare your viewer feeling. After you do that, put your pen down. Take this paper, put it off to the left, get a new piece of paper, oriented in the landscape mode, page number in the upper right, P3 at the top center for phase 3, good posture, feet on the floor, back straight, look at the page, sketch the target. Good posture, feet on the floor. Good posture, feet on the floor. If you wish, you can refer back to your latest dimensional magnitudes in phase 2 to gain further insight for your phase 3 sketch. It is not required to do this, but it often helps. Continue to sketch the target. Take this page, put it off to the left, get a new piece of paper, give it a page number, P4 at the top center for phase 4, put the column headings for phase 4 across the top of the page, S for senses, M for magnitudes, V-F 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 the column headings. Begin to probe the phase 4 matrix, starting with the senses column. Keep probing the columns. Do not edit anything out. Never doubt your perceptions, just write them down. Remember that doubt is on the conscious level of the mind. Write down all of your perceptions. Keep probing the columns of the matrix. Keep probing the columns of the matrix. Keep probing the columns of the matrix. Continue to work the target by focusing on the physicals and the concepts columns. Remember to occasionally probe the emotionals and subspace columns as well. Focus now on the physicals and concepts columns. Remember to keep your data low-level. What surfaces do you perceive? Probe the columns. What kind of surface is the target on? Probe the columns. What does it feel like? Work the target. What is at the target site? Look around. Return now to the emotionals column to restart the flow of the data. Probe the emotionals column. Then make one pass through all of the columns except for the VF and the D columns. After you do this, refocus on the physicals and the concepts columns. At any time, you can return to your latest Phase 3 sketch. You can probe the sketch to obtain further insights to enter into your Phase 4 matrix. Prepare for a Level 2 movement exercise. You will stay in Phase 4. You will not draw an ideogram. You will simply write the cue and then continue to enter data into the appropriate columns. You will want to focus most of your attention on the physicals and the concepts columns, but put any relevant data into their appropriate columns. Write the cue down exactly as I give it and then continue to probe the columns. You can also probe the last letter of the cue. Here is the Level 2 cue. Write it down exactly. Move to the target structure and describe. You can probe the last letter, E, in the word describe to help you focus on the target structure. Never be certain that you know what the target is. It is the conscious mind that gives you that illusion of certainty. It is also the conscious mind that plagues you with doubt. Simply be mechanical about the process. Probe the last letter of the cue and the appropriate columns. Enter your perceptions. Look around. What is there? Your perception is at the target structure. What is there? Also look around. What is around the target structure? If you have any visual impressions, be sure to sketch them on a new piece of paper, putting a P4. 5S in the physicals column and labeling your new piece of paper P4. 5 as well. The page number of the P4. 5 page is the same page number as your last matrix sheet with a letter A appended to the page number. Probe the matrix. Probe the last letter in the word describe. What is there? Poke around. Look around. What is there? Look around. What is there? Look around. What is there? Here is the cue. Write it down exactly. Move around the center of the target and describe. You can probe the last letter in the word describe and also the physicals and concepts columns. Move around the target at the center. What is there? Look around. What is the area like? Whenever you need to probe, you can probe a column or the last letter of the word describe. Probing always helps focus your attention at the target site. Remember to use P4. 5 entries when you need to tie a number of points together, but always remember, stay low level. What is there? Prepare for another Level 2 movement exercise. Write the cue down exactly, then you can probe the last letter in the cue as well as the physicals and concepts columns. Here is the cue. Write it down. Move 2,000 feet above the center of the target and describe. You are now 2,000 feet over the target. Look down. What do you see? You can probe the E at the end of the word describe to help you focus. Look around as you look down at the target. If you need to sketch anything, do it on a P4. 5 S page. Probe the E at the end of the word describe to help you focus. Look around as you look down at the target. If you need to sketch anything, do it on a P4. 5 S page. Probe the E at the end of the word describe to help you focus. At the bottom of your phase 4 matrix, write end. Look at your watch. What is the ending time? Write it down. Be sure to put AM or PM. I will now tell you the target specific for this session. I will say it twice. The first time, just listen to it. The second time, I will say it slowly so that you can write it down. The target specific for this session is I will tell you the target specific again, now slowly. 24 August 1998, 12 noon, Egyptian local time. After you have written down the target specific on the last page, Arrange all of your data, all of the pages of your session. Arrange them so that you can see them as they are arrayed in front of you on the desk. The Sphinx in Egypt is a very interesting target. It has a number of very pronounced structural characteristics. As you stand in front of the Sphinx, you can see two pyramids off to the side. The pyramids are quite large. The area around the Sphinx is very dry, desert-like, but it is also in Giza, right next to Cairo. At 12 noon, in the middle of the summer, you would also expect to see a number of tourists at the target site. So this target is on flat land. Look across all of your ideograms in Phase 1. What ideograms did you have? Did you have any that were flat land? Did you have any structural ideograms? From time to time, a viewer mistakes the Sphinx for a person, because the Sphinx has, of course, the face of a person. Look across your Phase 3 data. You had two Phase 3 sketches. Do you see anything there that resembles a mountain or a pyramid shape, or perhaps a round, curved shape? The flat land might be very evident in your pictures. Carefully examine all of your Phase 4 data. Phase 4, for this session, was more advanced than with previous sessions. You had a Level 1 movement exercise. See if that helped to refocus you on the target. You also had a number of Level 2 movement exercises. The Level 2 movement exercises were able to refocus you on the actual structure, and then to move you around the target. The second Level 2 movement exercise, where you move around the center of the target, is often very useful to break the viewer away from a focus on one small item. The phenomenon of focusing on one small item, at the expense of looking around, is something you want to avoid, and I find, personally, that a Level 2 movement exercise around the center of the target is a very useful cue for virtually every session that I do. The last Level 2 movement exercise, where your perspective is moved up 2,000 feet, is a very useful exercise for getting a larger perspective, a more wide-angle perspective of the overall target. Such Level 2 cues also keep the viewer flexible. Moving the perspective from place to place, shifting it around, keeps the conscious mind off-guard to a considerable extent, and it frees the subspace mind to make more innocent perceptions, and to allow you to write them down. You can now proceed with the next lesson. Be sure to take at least a one-hour break before beginning the next lesson. Also perform... CSP, the Consciousness Settling Procedure, and recite the SRV affirmation before beginning the next lesson.