SRV Lesson 19 Transcript

We are now about to begin our next scientific remote viewing session. I assume that you have already completed your CSP, your Consciousness Settling Procedure, and that you have recited the SRV affirmation. Your desk is clear other than the stack of white paper off to the right. You get one piece of paper. Place the header on the first piece of paper. Your name in the upper right hand corner. Underneath that, the date, and then the time. On the left hand side, data colon type four. Under that, monitor colon Courtney Brown. In the center top, PS for your physical state, dash, declare your physical state. Under that, emotional state, ES, dash, declare your emotional state. And under that, AP, dash, declare your advanced perceptuals, if any. Prepare now to receive the target coordinates. Ready? Here we go. 5, 8, 5, 7, 3, 2, 8, 2. A. Describe the movement of the pen with words. A. Probe the ideogram for your primitive descriptor. A. Probe the ideogram again for your advanced descriptor. B. Declare your B. C. Probe the ideogram again. After each probe, record your perceptions in C. Take this paper, put it off to the upper left, get a new piece of paper, number it page two, prepare to receive the target coordinates. Here we go. 5, 8, 5, 7, 3, 2, 8, 2. A. Describe the movement of the pen with words. A. 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. After each probe, record your perceptions in C. A. Describe the movement of the pen with words. A. Probe the ideogram again for your advanced descriptor. C. Probe the ideogram again. After each probe, record your perceptions in C. If at any time during Phase 1 you perceive any visual impressions, any images, be sure to sketch them somewhere on the page. Do not edit anything out. Take this piece of paper. Put it off to the upper left. Next, take a new piece of paper, number it page 3, and prepare to receive the target coordinates. Here we go. 5-8-5-7 3-2-8-2 A. Describe the movement of the pen with words. A. Probe the ideogram for your primitive descriptor. A. Probe the ideogram again for your advanced descriptor. B. Declare your B. C. Probe the ideogram again. After each probe, record your perceptions in C. A. Describe the movement of the pen with words. Take this piece of paper. Put it off to the upper left. Take a new piece of paper. Number it page 4. Prepare to receive the target coordinates. Here we go. 5-8-5-7 3-2-8-2 A. Describe the movement of the pen with words. A. Probe the ideogram for your primitive descriptor. A. Probe the ideogram again for your advanced descriptor. B. Declare your B. C. Probe the ideogram again. After each probe, enter your perceptions in C. A. Describe the movement of the pen with words. Take this piece of paper. Put it off to the upper left. Take a new piece of paper. Number it page 5. Prepare to receive the target coordinates. Here we go. 5-8-5-7 3-2-8-2 A. Describe the movement of the pen with words. A. Probe the ideogram for your primitive descriptor. A. Probe the ideogram again for your advanced descriptor. B. Declare your B. C. Probe the ideogram again. After each probe, enter your perceptions in C. A. Describe the movement of the pen with words. A. Describe the movement of the pen with words. Take this piece of paper. Put it off to the upper left. Take a new piece of paper. Number it page 6. At the top center, P2 for Phase 2. 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, images colon. What images do you perceive? 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 for magnitudes M-A-G-S 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, 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, to the left, V-F dash. Declare your viewer feeling, then put the pen down. Take this piece of paper, put it off to the left. Take a new piece of paper, position it in the landscape orientation. Give it a page number. Write P3 for phase three at the top center. Good posture, feet on the floor. Look down at the page. Sketch the target. Good posture, feet on the floor. Look down at the page. Sketch the target. Remember that you do not have to look back at your phase two dimensional magnitudes, but you can if you desire. Take this piece of paper, put it off to the upper left. Take a new piece of paper, position it in the landscape orientation. Give it a page number. P4 at the top for phase four. Under that, across the top of the page, write your 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. Draw a long horizontal line underneath all of your column headings and begin probing your phase four matrix. Start with the senses column. Remember to put P4. 5 in the physicals column if you do this. Remember also to probe all of the columns except the viewer feeling and deductions columns. Thanks for watching! Begin to focus your attention on the physicals, concepts, and emotions. Consider the deductions columns. Consider the concepts, concepts, and emotions. Make a trip back to the emotionals column. Probe the emotionals column. Continue to enter all of your perceptions in the appropriate columns. Continue to focus on the emotionals, physicals, and concepts columns. What do you feel is at the target site? Enter it down. Never doubt your perceptions. Never edit anything out. Write everything down. If you need to link some concepts and physicals and other things together, be sure to use a P4. 5. Go back to the phase three sketch. Probe the phase three sketch, various lines and spaces. Record any of your perceptions in the appropriate columns in phase four. Record any of your perceptions in the appropriate columns in phase four. Prepare for a level one movement exercise. If you need a new piece of paper, get one now. For a level one movement exercise, you do not need the column headings on phase four. Just a new piece of paper will do. Write down the cue exactly. Be sure to number your pages. After you write down the cue, there will be an ideogram. Draw your ideogram, and you will decode it in the normal manner of phase one. Here's the cue. Write it down exactly. From the center of the target. The target structure should be perceivable. A colon. 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. Put a page number. P2 at the top for phase two. On the left. Write sounds colon. What sounds do you perceive? Under that. Temps. T-E-M-P-S: What What temperatures do you perceive? Under that. Visuals colon. Under that. Indented. Colors dash. What colors do you perceive? Under that. Indented. 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 colon. M-A-G-S: Under that Indented further. 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. Again indented. What mass,density,space,or volume do you perceive? Under that. Again indented. What energetics do you perceive? Under that. On the left. Capital V-F dash. Declare your viewer feeling. Then put the pen down. Take this piece of paper. Put it off to the left. Take a new piece of paper in landscaped orientation. Number the page. Put P3 for phase 3 in the top center. Good posture. Feet on the floor. Look down at the page. Sketch the target. Do not assume that you know what the target is when you are sketching the target. Just sketch your feelings about this target. Draw in what you perceive. Do not worry about whether it is right or wrong. Just draw in your perceptions. Take this piece of paper. Put it off to the left. Take another piece of paper. Landscape orientation. Page number in the upper right. P4 for phase 4 in the top center. Put your column headings across the top of the page. 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 senses. Probe the matrix starting in the senses column. After you make one complete pass through the matrix,from left to right,skipping over the viewer feelings and deductions columns,then to the right. At this point,you should be focusing on the physicals,emotionals,and concepts columns. Be sure to probe the subspace column from time to time. In the concepts column,write the word activity in square brackets. Probe the word activity by putting the point of the pen on one of the letters. Probe activity. What activity do you perceive? Enter your perceptions in the concepts,physicals,and emotionals columns. If you need to tie entries together,use a P4. 5 entry. Prepare for a Level 2 movement exercise. For a Level 2 movement exercise,prepare for a Level 2 movement exercise,you stay in Phase 4. You simply write the cue,and then enter the data in the appropriate columns. Write this cue exactly. Move to the primary structure and describe. You may probe the last letter,the E,in the word describe to assist you. Notice the textures,the surfaces. Notice the temperatures. Let's do another Level 2 movement exercise. Write the cue down exactly,and then stay in Phase 4 as you probe the matrix. Write this cue down. Move inside the primary structureand describe. You can probe the last letter in the word describe,the E,as needed. You are now inside the primary structure. What do you perceive? What do you perceive? What do you perceive? Move around the center of the targetand describe. Describe. Describe. Describe. Describe. Describe. Describe. Describe. Describe. Describe. Describe. Describe. Describe. Describe. Describe. What do you perceive? What do you perceive? What do you perceive? Write end at the bottom of the page. Look at the time. Write down the time. 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. The second time,write it down at the bottom of your last page. Here is the target specific for this session. The sinking of the Lusitania by a German submarine,7 May,1915. Again,the target specific for this session. Write it down now at the bottom of your last page. The sinking of the Lusitania by a German submarine,7 May,1915. Very interesting target from a historical point of view. The Lusitania is very similar to the Titanic,both in terms of the fact that it sunk and the structure,the physical nature of the Lusitania is also very similar to the Titanic. They were two very large ships that existed at about the same time. The Lusitania was sunk by a German submarine off of the coast of Ireland. You might want to do a bit of research on the Lusitania. The Lusitania was a very large ocean liner and it had four very tall smokestacks in the center of it. It was carrying 1,198 people,all of whom died in the sinking. The ship,of course,is made of metal. It's a metal structure and,of course,it is in water. This,indeed,is your first target that takes place entirely on the surface of water. And it is typical of training for targets to be varied in this fashion so that you can experience new things. With this particular target,there are really two structures. There's the Lusitania itself,but there is also the German submarine. Some viewers pick up the German submarine as well. Some viewers may pick it up instead of the Lusitania,but most viewers will pick up the Lusitania or some aspect of the Lusitania. Understand that when you do remote viewing,you're taking your perspective and putting it in a location, but there is no guarantee,as I've mentioned before,that you will see any one particular item. It's just like if you were standing in the center of Rome. If you are standing on a street corner and looking around,you may notice things that are inside store windows. Another person standing next to you might be looking at the people on the street. Yet another person standing at basically the same position as you are might be looking at the cars or the buildings or the sky. Well,remote viewing is a bit like that. You're putting your perspective in a location,but you see whatever you see. Training in remote viewing is oriented around trying to get you to see as much as possible of the target. That's one of the reasons why we give a movement exercise that moves you around the center of the target in many sessions. This helps the viewer move around the center of the target. Movement exercises more specific than around the center of the target are also oriented around getting you to notice a few aspects of the target that may be important for,say,analysis. With regard to the Lusitania,there were many intense emotions. There's also a lot of energetics. The Lusitania received at least one torpedo blow to the center of the ship, and then there was a secondary explosion that occurred after that. It's not completely clear what the secondary explosion was caused by, but nonetheless there was a lot of smoke,a lot of explosion,a lot of fire. The emotions at the ship were very intense,to say the least, and of course the ship had a lot of activity going on. So look over your phase one data. See what you got. Were you able to pick up any flat surface? Sometimes people decode water,especially ocean,that's flat and it goes on for a long ways,as land. This is not an uncommon decoding error. What happens is you're looking at a long,flat surface, and this flat surface looks a little choppy, and very often you think of it as just bumpy ground. Experience with remote viewing adds greater depth to your viewing abilities, and you begin to be able to discern the difference between water and land. So this is your first experience with a target that's totally on water, and hopefully you noticed some differences between this experience and other experiences that were totally on land. Look over your ideograms. Did you get any structures? What were the structures made of? Did you get any sense of a metallic feel? Were the textures smooth,as with painted surfaces,painted metal surfaces? Did you get any smell of smoke? Did you get any sense of heat? Look at the other aspects that you've gotten in all of your phase one data. Look at your phase two data. Your senses, the textures, the temperatures, any visuals that might be there. Look then also at your phase three sketch, as well as all of your phase four data. Again, at this stage you should not be concerned about decoding errors. This is the very first time you're deeply getting into decoding intuitive feelings into what these feelings may actually represent in physical terms. So you can expect there to be decoding errors, and there is nothing wrong with that. In fact, it would be like having someone learn a foreign language and expecting them never to make a mistake in that language from the very first day. You would never expect such a thing. Similarly, with scientific remote viewing, decoding errors are very comparable with, say, language errors when you're learning a new language. Nonetheless, when you are learning a new language, almost always something comes through when you try to communicate. So look through all of your data to see what kind of decoding problems you may have had, but also what decoding successes you have had. Notice also your level one movement exercise. Did it refocus you on the target? What normally happens with new viewers is that the data are relatively good, but often in the beginning, and then veer off as the conscious mind gets more involved and wants to interpret the session and figure out what the session is doing. And so the level one movement exercise brings you back to square one and gives the subspace mind a fresh start at recording the data. So look through all of your data and see what you've got. While you are looking at your data, I would like to point out a couple mechanical things about the session that you just did. Notice that we used a level two movement exercise to move you into a structure. The use of this cue is a little front-loading because you're being told that there is a structure there in the first place. But it's done near the end of the session, and it's also very generic in the sense that you're not being told anything about the structure, just that it is a structure. You're not being told that it's on water. You're not being told that it's on land. You're not being told anything about the nature of the structure, whether it's metal or stone or wood or anything, just to move into the structure. And this little bit of front-loading helps the decoding process a bit by grounding you with some information. You know you're in a structure, thus calming yourself down and allowing you to extend your perception to the interior of the structure. So some very generic, non-leading level two movement exercises are very useful, especially at that point in the session. Notice also that I allowed you to draw some sketches, if you wished, in phase one. You will see more of that in a later course on enhanced scientific remote viewing. Sketch drawing in enhanced scientific remote viewing is a big deal. We do a lot of it in phase one and phase four. But for right now, we want you to touch it just a bit. When you're in phase one and you're doing your ideograms and you're decoding of your ideograms, especially when you're in part C, visual impressions sometimes occur, and you want to feel free to sketch any of those visual impressions that may occur when you're in phase one. Okay, you are now ready to proceed to the next lesson. Be sure to take a one hour break at least before starting the next lesson. Also, before you start the next lesson, do CSP, your consciousness settling procedure, and recite your SRV affirmation.