SRV Lesson 22 Transcript

We are ready to begin our next scientific remote viewing session. You should have completed csp, the consciousness settling procedure. And you should have recited the SRV affirmation. Your desk is clear. Stack of clean white paper is off to the right. You have one piece of paper in front of you. Write the header on the page name upper right. Below that, the date, then the time 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. A. P. declare any advanced perceptuals, if you have any. Prepare now to receive the target coordinates. Here we go. 98567829 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 have any visual impressions, sketch them to the left of C. Take this page, put it off to the left. Take a new piece of paper, number it. Page two. Prepare to receive the target coordinates. Here we go. 98567829. 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. Probe the ideogram again after each probe. Enter your perceptions and see there. Take this piece of paper, put it off to the left. Take a new piece of paper, number it. Page three. Prepare to receive the target coordinates. Here we go. 985-67829A. Describe the movement of the pen with words. Probe the ideogram for your pen 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 upper left. Take a new piece of paper, number it. Page four. Prepare to receive the target coordinates. Here we go. 98567829 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. 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 five. Prepare to receive the target coordinates. Here we go. 985-67829A. 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, record your perceptions in C. Take this page, put it off to the left. Take a new piece of paper, put a page number and then P2 for phase two. At the top center on the left, write sounds Colon what sounds do you perceive under that? 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? Luminescence L U M S what luminescence do you perceive under that indented? Contrasts what contrasts do you perceive under that? To the left, Tastes Colonial what tastes do you perceive under that? To the left, Smells Colon what smells do you perceive under that indented mags Mags for magnitudes under that further indented what verticals do you perceive under that indented? What horizontals do you perceive under that indented? What diagonals do you perceive under that indented? What topology do you perceive under that indented? What mass, density, space, volume do you perceive under that indented? What energetics do you perceive under that? To the left, write VF Dash and declare your viewer feelings. After you declare your viewer feelings, 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. Put a page number in the upper right at the top center. Write P3 for phase three. Good posture. Feet on the floor, back straight. Look down at the page. Sketch the target. Take this piece of paper, put it off to the left. Take a new piece of paper, position it in the landscape orientation. Page number upper right in the top center. Write P4 for phase four under that, across the top of the page, write your column headings. Write S for senses, M for magnitudes, VF for viewer feelings. E for emotionals. P for physicals. Subsub for subspace. C for concepts. GD for guided deduction. D for deduction. Draw a horizontal line underneath all of your column headings and begin to probe your Phase four matrix. Beginning with the Senses column is best to obtain two pages of phase four data before beginning to work the target by focusing on the emotionals, physicals, subspace and concepts columns. Always remember that if you do not perceive something in a particular column, just move on to the next column. Always remember to enter all of your perceptions in your phase four matrix. Do not edit Anything out. You should begin now to focus your attention on the Emotionals, Physicals, subspace and Concepts columns. When you probe these columns, you are extending your awareness to the target. What do you perceive? It Always have an extra emphasis on the Physicals and Concepts columns when you are working the target. Return now to the Emotionals column. Enter your perceptions in the appropriate columns in your phase four matrix. Continue then to work the target, focusing on the Concepts and Physicals columns. You can return to your phase three sketch. Probe some lines and spaces, then enter your perceptions in your phase four matrix. Whenever there is a flow of data, Continue to probe the phase four matrix, focusing on the Physicals and Concepts columns. Prepare now for a level one movement exercise. For a level one movement exercise, you may need a new piece of paper. You do not need the column headings for phase four. You just need to number the page. Write the cue down exactly as I give it. Then you will draw an ideogram and you will decode the ideogram in the normal fashion. Prepare to listen to and write down the cue. Here it is. Write it down exactly and then draw the ideogram 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. 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 always. If you have any visual impressions, sketch them 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. Put a page number in the upper right. Then P2 for phase two. At the top center on the left, write sounds Colon, what sounds do you perceive under that? 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? What luminescence L U M S dash 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? Magnitudes Mags Colon under that indented? Further, what verticals do you perceive under that indented? What horizontals do you perceive under that 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, Write VF and declare your viewer feelings. After you write your viewer feelings, put your pen down. Take this piece of paper. Put it off to the left. Take another piece of paper. Position it in the landscape orientation. Put a page number in the upper right and P3 for phase three at the top center. Good posture. Feet on the floor, back straight. Look down at the page. Sketch the target. Take this piece of paper. Put it off to the left. Take a new piece of paper. Position it in the landscape orientation. Page number upper right. P4 at the top center for phase four. Then you write your column headings. S for Senses, M for magnitudes, VF Viewer feelings E Emotionals P Physicals sub space C Concepts G Guided Deduction D Deduction. Put a long horizontal line underneath the column headings. Begin to probe your phase four matrix. Beginning in the senses column, do only one pass through all of the columns except fewer feelings and deductions. Then continue to work the target by focusing on the physicals and concepts columns. Also probing the emotionals and subspace columns from time to time as needed. Prepare for a level 2 movement exercise. Write down the cue and stay in phase four. Continue to probe the matrix. After you write the cue. Here is the cue. Move to the target subjects and describe. Move to the target subjects and describe. You can probe the E, the last letter in the word describe to help focus your attention. After the data flow, continue to probe the matrix, focusing on the physicals, concepts and Emotionals columns. To refocus your attention on the cue at any time, probe the last letter E in the word describe in the physicals column in square brackets, write target subjects. Slash and under that surroundings in square brackets target subjects, surroundings. Probe each word and then describe the surroundings of the target subjects. It Prepare for a level two movement exercise. You will stay in phase four. Just write the cue and begin to probe the matrix. Here is the cue. Move 100ft above the center of the target, looking down and describe again. That's move one 100ft above the center of the target, looking down and describe. You can probe the last letter, the E in the word describe to help focus your attention. Look around. What do you perceive? You may want to use a P4 and a half to describe where your perspective is right now. Be sure to describe what you are looking atPrepare for another level two movement exercise. You will stay in phase four. Write the cue down. Move around the center of the target and describe. Probe. What do you perceive? Prepare for another level two movement exercise. You will Stay in phase four. Write the cue down exactly from the center of the target. Move to 100ft above ground level and describe again. That's from the center of the target. Move to 100ft above ground level and describe. Probe. What do you perceive? Look around it. Prepare for another level two movement exercise. You will stay in phase four. Write the cue down exactly. Here it is. From the current perspective. Move to ground level and describe again. That's from the current perspective. Move to ground level and describe. Probe. What do you perceive? Focus your probes on the last letter of the word. Describe the E as well as the physicals and concepts columns. okay, write end. End. At the bottom of the last page of phase four, look at your watch. Write the ending time. I will now tell you the target specific for this session. I will say it only once. Write it down as I say it. Dick Rutan R U T A N and Jenna Jaeger Jiana is J E A N A Jaeger Y E A G E R Flying the Voyager aircraft over Africa during the first non stop flight around the world without refueling. Parenthesis December 1986 Close parenthesis. This is a very interesting target with a variety of different gestalts. The Voyager aircraft itself is a rather oddly shaped aircraft. It's of a canard design. It has a very wide wingspan and an additional wing in the front called the canard. It has two long tubular fuel tanks that appear as part of the aircraft. They don't really look like fuel tanks on either side of the main fuselage. At the ends of these long fuel tanks are two tails. Dick Rutan and Johnny Yeager were inside the main fuselage. There were two engines to that aircraft, one engine in the front and one engine in the back. By the time the aircraft got over Africa, the two pilots were very exhausted. Rutan and Jaeger were in very cramped quarters, very cramped conditions. Lying down flat on the inside of the fuselage, the motors themselves were causing a deafening roar inside of the aircraft. The aircraft was flying over Africa at target time, which is why I moved you around so many places. You were inside the structure, inside the aircraft with the pilots. Then you moved above the aircraft, above the center of the target, looking down, hopefully being able to see perhaps the aircraft as well as the panorama of Africa below. And then moving down below the center of the target to 100ft above ground level, seeing the African scenery, finally going down to ground level itself, giving you a chance to detect the scenery as well as the weather and other factors closer to the ground. All of these movement exercises are Very valuable in remote viewing. They allow the viewer to get a fresh perspective, a change in scene, a new chance to grip hold, to start decoding the data accurately. So what you want to do for this session is to look over all of your data, especially after each one of the movement exercises, to see what you perceive. Sometimes your perceptions may be quite accurate, at other times they may go off for a while. Don't worry about that. Sometimes you'll even see that the accurate perceptions are blending in with what appears to be a storyline or a false set of projections where the conscious mind was interfering with the process to some extent. Again, you get better with training, and this is of course, the beginning of your training. While you are looking over your data, I'd like to spend a few minutes talking about what will happen in the next two lessons. Up until this part of the course, we have not focused on the subspace column very much. I've had you probe the subspace column, but there has not been much activity in the subspace column that we had you focus on. The reason for this is that we wanted you to focus first on physicals, concepts and emotions that you could pick up at the target sites. But for the next two targets, the next two sessions, there are dramatic subspace components. Now, this is very important. Many people have funny ideas about subspace. They think of it as the heavenly realm, where there are cherubs, bubbling brooks, idyllic scenery, wonderful vistas, glowing worlds. I would like you to take all of these ideas about subspace, package them up, put a big mental ribbon around them, and put them where they can do no harm in a safe spot in the mind. What I would like you to know is that subspace is as complex, perhaps more complex than physical reality. There are all sorts of things, all sorts of beings. Good, bad, the works in subspace, the old saying, as above, so below works. So when you have the next two sessions, we are going to be focusing more on subspace information. Do not have any preconceptions about what you may perceive. Take it all innocently. Record all of your perceptions with the same innocence with which you would record your perceptions of physical things. Be sure to take at least a one hour break before continuing with the next lesson. Also remember your consciousness settling procedure, csp, as well as the recitation of the SRV affirmation.