SRV Lesson 20 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 should have recited the SRV affirmation. Your desk is clear other than a stack of white paper off to the right. You take your first piece of paper and put your header on it. Name upper right. Below that, date and time. Then on the left, Data colon, type 4, monitor colon. Courtney Brown in the center top. P. S. declare your physical state under that. E. S. declare your emotional state under that AP. Any advanced perceptuals, write them down at this time. Prepare now to receive the target coordinates. Here we go. 25356254 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. While you are probing the ideogram for part C. If you perceive any visual impressions, sketch them a little to the left of C. Take this piece of paper. Put it off to the upper left. Take a new piece of paper. Number it. Page 2. Prepare to receive the target coordinates. Here we go. 25356254 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. 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 3. Prepare to receive the target coordinates. Here we go. 25356254 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. Probe the ideogram again and enter your perceptions in C. If you perceive any visual impressions, make sure your sketches are very low. Level it. 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. Ready? Here we go. 253-56-254A. 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. Probe the ideogram again after each probe. Enter your perceptions in C. It Take this piece of paper. Put it off to the left. Take A new piece of paper. Number it page 5 and prepare to receive the target coordinates. Here we go. 253-56-25 4A Describe the movement of the pen with words. Probe the ideogram for your primitive descriptor. 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 IT Take this piece of paper, put it off to the left. Take a new piece of paper, give it a page number and then P2 for phase two. At the center top on the left, write sounds Colon what sounds do you perceive? Remember, you can always probe the colon to focus your attention. Under that, write textures Colon what textures do you perceive under that? Temperatures Temps Colon 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 S for luminescence 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? To the left, Smells Colon what smells do you perceive under that? Indented Magnitudes Mags Colon under that? Further indented 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 under that? To the left VF Declare your viewer feeling after you do this. Put your 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. Write a page number in the upper left. P3 for phase three in the center top. Good posture, Feet on the floor, Back straight. Look down at the page. Sketch the target it you can refer back to your dimensional magnitudes in phase two, if you desire to assist your sketch. 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 P4 for phase four. In the center top. Under that, write your column headings S M VF E P sub C GDD Draw a long horizontal line underneath your column headings and begin to Probe the Phase 4 matrix. Always start with the Senses column. Always skip over the viewer Feeling and deductions columns. Never probe those columns. Continue to probe the other columns in your phase four matrix. What do you perceive? Write your perceptions down it. Begin to focus on your physicals and concepts columns. IT Return now to The Emotionals column. Then enter your perceptions in the appropriate columns. Continue to probe the matrix, focusing on the Physicals and concepts columns. Return to your phase three sketch. Probe the lines and spaces. Enter your perceptions in the phase four matrix. It Prepare now for a level one movement exercise. If you need a new piece of paper, get it now. Put a page number. You do not need the column headings for phase four. Write down the cue exactly. Immediately after writing the cue, you will draw an ideogram and then decode the ideogram in the normal fashion. Here is the cue. Write it exactly from the center of the target area. Something should be perceivable. 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. Probe the ideogram again after each probe. Enter your perceptions in C. If you perceive any visual impressions while you are probing the ideogram for C, sketch these to the left of C, take this piece of paper. Put it off to the left. Take a new piece of paper. Position it in the portrait orientation. Number the page. Then write P2 for phase two. At the top center, then to the left, write Sounds. Colon what sounds do you perceive under that? Textures, Colon what textures do you perceive under that? Temps. Temps, Colon what temperatures do you perceive under that? Visuals, Colon. Under that? Indented Colors. What colors do you perceive under that? Indented L, U, M, S 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? To the left. Smells, Colon what smells do you perceive under that? Indented Magnitudes. Mags Colon under that? Further indented. 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 under that? To the left. VF Declare your viewer feeling after that, put your pen down. 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, capital P3 in the top center. Good posture. Back straight, feet on the floor. Look down at the page. Sketch the target. If you desire, you can look back at your last phase. Two dimensional magnitudes to assist your sketch, take this piece of paper. Put it off to the left. Take a new piece of paper positioned in the landscape orientation. Give it a page number P4 at the top center for phase four. Under that, across the page, write the letters for your column headings. S for Subspace M for Magnitudes VF Viewer Feelings E Emotionals P Physicals sub Subspace C Concepts GD Guided Deduction D Deduction. Draw a horizontal line underneath all of your headings and begin to probe your Phase four matrix. Starting with the Senses column, work the target by focusing on the Physicals and the Concepts columns. Return to the Emotionals column. Then continue to focus on the Physicals and Concepts columns. It Return to your last Phase 3 sketch. Probe some of the lines and spaces in the Phase 3 sketch. Enter your perceptions in the appropriate columns. In Phase four, it prepare for a level two movement exercise. With a Level two movement exercise, there is no ideogram and you stay in Phase four. Write down the cue exactly as I give it to you. Then continue to probe your matrix. In phase four, here is the cue. Move 1,000 meters above the center of the target looking down and describe again. That's move 1,000 meters above the center of the target looking down and describe. You can probe the E, the last letter in the word describe to help focus your attention. You can also probe the Physicals and Concepts columns. If you need to tie entries together, do so in a P4 and a half. Prepare for another level two movement exercise. Write the cue exactly as I state it. Then continue to probe the matrix. In Phase four. Here is the cue. Move to the center of the target and describe again. You can probe the last letter, the E, in Describe, to help focus your attention. It Prepare for another level 2 movement exercise. Write the cue down and then continue to probe your phase four matrix, focusing mostly on the Physicals and Concepts columns. Here is the cue. Write it down. Move around the center of the target and describe. You can probe the E, the last letter in the word describe, to help focus your attention. Prepare for a level two movement exercise. You will again stay in Phase four. Here is the cue. Move to the largest body of water at the target site and describe again. That's move to the largest body of water at the target site and describe. You can probe the E, the last letter in the word describe to help focus your attention. Enter your perceptions in the appropriate columns in phase four. Alright. Write the word end at the bottom of your last page of Phase four. Look at your watch. Write the ending time. Be sure to put AM or pm. I will now tell you the target specific for this session. I will say it twice. First, just listen. The second time I will Say it slowly and write it down. The target specific for this session is the Grand Canyon, Arizona, 12 noon, Arizona time, 22 June 1999. Again, now write it down on your last page of your session. The target specific is the Grand Canyon, comma, Arizona, parenthesis, 12 known comma, Arizona, Arizona time, comma, 22 June 1999, close, parenthesis. This is a very interesting and challenging session. It had a very leading level 2 cue at the very end of the session, but I held off till the very end to give you that cue so that there would be no leading before that. That cue was given in order to allow everyone to ground themself at one point in this rather challenging target. Why is the Grand Canyon a challenging target? Well, in one sense, it's an easy target because there are lots of mountain type of features in the Grand Canyon, things that move up a lot of verticals. And people tend to find large verticals that move upward, relatively easy to describe. But the Grand Canyon has another feature. It sinks downward. Basically, there's level land that goes down because the river in the center of the canyon dug out this huge channel in the middle. Very often, new viewers find holes or things that sink down to be more difficult. They wonder why there's nothing there. They perceive something level at the top, and then something is gone. The conscious mind sometimes makes a projection to cover the whole so that there is the lack of awareness that there is something deep that the perceptions need to go into. This is the reason why I had you go up 1,000 meters. I used meters rather than feet to give you an understanding that it doesn't matter what units you use. The subspace mind knows exactly where to go. And once you go up and look down, what you would see down below is very rough terrain. Some viewers may describe that as rough, mountainous terrain. Others may perceive the canyon shape. I remember recently going to a museum here in my hometown of Atlanta, and I noticed that one of the exhibits was looking at me. It was the sculpture of a face. And as I walked past the face, the face literally turned and looked at me, but it was a sculpture. I then looked very closely at the face, and as close as I would look at it, and moving to the side and then back again, it would seem to follow me almost as if it was alive. I then got very close to the face and looked at it, and I realized it was not a normal sculpture of a face. It was an indented sculpture of a face, meaning it was a face that was pushed inward. There was a flat wall. And the image of a face was indented into the wall. So the nose was the farthest point into the wall, and the cheeks were closer to the wall. It was as if someone made the sculpture by taking a normal human face and submerging it into plaster of Paris, then removing the face, leaving the indented sculpture. When I walked past the sculpture of the face, my conscious mind forced an optical illusion. It made it seem as if the face was not indented into the wall, but projected out from the wall in the normal fashion. But as I walked past, the indentation of the face and the projection of the face that my conscious mind was making made it look as if the face was actually turning as I walked by it. I tried for about 15 minutes to force my conscious mind to not make that optical illusion as I walked by the sculpture backward and forward. And probably I caused a bit of a scene where everybody saw me walking backward and forward in front of the sculpture. Most people were just looking at it once, noting the optical illusion, laughing a little and walking on. But there I was, back and forth, back and forth, trying to train my mind not to produce that optical illusion so that I would see the face indented into the wall rather than to project it out from the wall. It was very, very difficult to do. Thus, the conscious mind. It doesn't like holes. It doesn't like indentations. It doesn't like things that go away. It likes things that come out that have a surface topology, not an indented topology, but an upwardly raised surface topology. Thus, a mountain is easier to describe than a canyon. A mountain goes up, a canyon goes down in. The Grand Canyon, however, is a very interesting and large canyon. And it has a lot of topological features, very irregular terrain that can be more easily identified by a viewer. So this was both an easy target and a hard target mixed together. A more difficult target would have been a mining operation, where the hole in the ground would have been small. Now it's time to look over all of your data, look at your ideograms. It would be perfectly appropriate if you got some mountain ideograms. Also, the target is on land. There is also water at the target. The river rushes down through the bottom of the canyon. There are also many subjects, especially at noon, that time of day in the middle of summer at the Grand Canyon. Many tourists are at the top of the canyon looking down. Some tourists are boating down the river. Other tourists are climbing down the walls of the Grand Canyon, some with donkeys, some just on feet. There are also vehicles, cars, vans, motorhomes, all sorts of vehicles. On top of the canyon in various parking lots. There are some structures, tents as well. Look over all of your data, all of your ideograms. See what aspects of the target you correctly decoded again at this early stage. Do not worry about incorrect decoding. Even the best viewers make decoding errors. Look at what you did get correct though and learn from that. Notice also that I have had you focus on the physicals and the concepts columns as you progress. From now on, however, you will focus mostly on the Physicals and concepts columns, but you will also return to the subspace and emotional columns very regularly even while you're working the target with physicals and concepts. It is very important to do this because all targets have the potential for subspace and emotional qualities to them. If we focus only on the physicals and concepts regularly, then we can miss important subspace and emotional characteristics. On the other hand, if you are probing your matrix and repeatedly do not perceive anything emotional or subspace at the target, then you can focus your attention on the physicals and concepts columns more exclusively when you work the target. Alright, you're now ready to proceed to the next lesson. Before beginning the next lesson, take at least a one hour break. Also do your CSP and recite your SRV affirmation before beginning the next lesson.