SRV Lesson 24 Transcript

We are now ready to begin our next scientific remote viewing session. You should already have completed your consciousness settling procedure as well as recited the SRV affirmation. Your desk is clear except for a stack of white paper off to the right. You have one piece of paper in front of you. Write your header name in the upper right hand corner. Under that, the date, then the time on the left. Write data colon type 4 under that monitor, colon. Courtney Brown at the top center. PS Dash. Declare your physical state under that. ES Declare your emotional state under that. AP Declare advanced perceptuals, if you have any. Prepare now to receive the target coordinates. Here we go. 57371506 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. It. Take this piece of paper, put it off to the left. Take a new piece of paper, number it page 2 and prepare to receive the target coordinates. Here we go. 57371506. 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. It. 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. 57371506. 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 four. Prepare to receive the target coordinates. Here we go. 57371506. 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. It. Take this piece of paper, put it off to the left. Take a new piece of paper, number it. Page 5. Prepare to receive the target coordinates. Here we go. 57371506. 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, give it a page number. Then write P2 for phase two at the upper center. Then 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 Dash what luminescence do you perceive under that indented? Contrasts Colon 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 Colon for magnitudes 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, 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 the pen down. Now 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 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. Give it a page number in the upper right, then P4 at the top center for phase four. Now write your column headings for phase four. S for senses. M for magnitudes. VF viewer feelings. E Emotionals P Physicals Sub for subspace C. Concepts GD Guided Deduction. D Deduction. Draw a long horizontal line underneath the column headings and begin to probe the phase four matrix. Starting with the Census column, begin now to focus on the Emotionals, Physicals, Spiritual Subspace and Concepts columns. Be sure to note the difference between your perceptions by probing the physicals and the subspace columns. What is in the physicals? What is in subspace? Separate out those perceptions. Return to the Emotionals column, Probe the Emotionals column and then continue to probe the other columns, focusing on the emotionals Physicals, Subspace and Concepts columns. If you perceive any data that are related to the other columns, such as senses, magnitudes and so on, be sure to put everything in their appropriate columns. Be sure you put any high level conclusions off on the Deductions column. Put your pen down after every deduction and after every viewer feeling, if only for a moment, it Return to your phase three sketch. Probe some of the lines and spaces. Enter your perceptions in the phase four matrix. When the data are flowing, continue to probe the phase four matrix. Prepare now for a level one movement exercise. If you need a new piece of paper, you can get it now. Give it a page number. You do not need the column headings for phase four. Write down the cue exactly as I stated and then you will draw an ideogram and you will decode the ideogram in the normal fashion. Here is the cue from the center of the target. The target subject 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 D 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, position it in the portrait orientation. Give it a page number in the upper right, then at the top 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 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 Dash what luminescence do you perceive under that? Indented Contrasts. 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 colon for magnitudes 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 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 left. Take a new piece of paper, position it in the landscape orientation. Page number upper right. P3 at the top center 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, then top center. P4 for phase four. Now write your column headings for phase four. Senses, magnitudes, viewer Feelings, Emotionals, Physicals, Subspace Concepts, Guided Deduction. Deduction. A long line underneath each of the column headings. Probe the matrix. Beginning with the Senses column, begin to focus on the Emotionals, Physicals, Subspace and Concepts columns. It prepare for a level two movement exercise. You will stay in phase four. Simply write the cue in your phase four matrix and continue to probe the columns. Here is the cue. Move to the center of the target and describe. You may probe the E, the last letter in the word describe to help focus your attention. Continue to probe the columns, focusing on the Emotionals, Physicals, Subspace and Concepts columns. Now, in the subspace column in square brackets, write Target Person. In the subspace column in square brackets, write Target Person at the same horizontal level in square brackets. In the Concepts column, write Deep Mind Probe in square brackets. In the Concepts column, write Deep. Deep Mind Probe. Now with your pen, Probe Target Person and Deep Mind Probe. Touch each word once, then enter your perceptions in the matrix. Most of the perceptions will go in the Emotionals and Concepts column, but you may use any column for for any perception that is appropriate. Also use a P4 and a half if needed. Keep your data low level. Describe the psychological state, emotional state, and any other information that you can perceive about the target subject. You may continue to probe the last word in Deep Mind Probe to help focus your attention. Now write End. At the bottom of this last page, look at your watch. Write the ending time. I will now give you the target specific for this session. Write it down exactly. I will state it only once. The target specific for this session is Buddha. Capital B, U D D H A parenthesis. Time appropriate for viewer as determined by Buddha. Close parenthesis. Buddha is a very interesting target. You can of course target anyone. You can target anyone in the past, anyone in the present, anyone in the future. Moreover, anyone in the past still exists. No one dies. We have subspace aspects that are independent of of our physical bodies. Thus, when we die, we are still alive just as much as we are when we are in physical bodies. Just our focus of attention is no longer channeled through the five physical senses. Thus, the real question with a subject such as Buddha is what is he doing now? What is his job description? What does he want to do? Just as we will have to face those same questions when we no longer focus our attention through our physical bodies. There is no required reason for giving a target such as Buddha. Any target of a past personality would have worked for such a session as this. However, we have found that Buddha is a very interesting target. He often leads us in unusual directions in our sessions. Often we find ourselves in most unexpected situations. And so, to be honest, targeting Buddha is often quite fun. So I include this target for your personal growth, for fun, for your enjoyment, for your interest. No one knows how to interpret the data that you obtained during this session except you. Whatever you may have perceived, well, I guess you might say it's for your eyes only. Look over your data. Enjoy looking over it. Do assume that there are decoding errors in your data, just as there are likely decoding errors in all of your sessions. Thus, do not take any one particular part of this session or any session as gospel truth. You have to look at remote viewing data with a wide angle perspective. Your perceptions may have been accurate, but the decoding of those perceptions may have been problematic from time to time. It is very difficult to tell with a session like this which is accurate and which is not accurate. You will have to make your own judgments. This type of a session, which we do from time to time mostly for fun, is open ended. We don't really have any solid expectations for such a session. However, if you look over your data, see if you perceive much subspace content. This session in particular. Do you get any clear impressions of a subspace being? What was your evaluation of the personality of the subspace being? Look over your data. Evaluate it. Sometimes with this particular subject, Buddha, people find themselves going in various different directions. I remember the first time I was given the target of Buddha. I ended up viewing what I perceived to be something like the birth of creation. It was a very powerful and unusual session. In that particular session, I do remember thinking about Buddha, but I did not get a clear impression of such a personality of a subspace being. It was as if Buddha wanted me to see something that would make sense to me at the time that I was doing the session. In another instance, when I was given the same target, completely unexpectedly, I did perceive a subject. Thus, one never can define exactly what one will get with this type of target, but it is a target for fun. So enjoy. You have now completed the Farsight Voyager course. Through this set of lessons, I want to encourage you to continue with your studies of scientific remote viewing. Remember that remote viewing is like learning a language. If you took two weeks of a French course or a Russian course or a Spanish course. No one would expect you to be fluent in that language or any other language after only a short exposure. Similarly, with remote viewing, it is not possible to take a short course in remote viewing and suddenly to be a master remote viewer. Nonetheless, it is a beginning, and all beginnings can develop into very great potential. The next step for you would be to continue your practice with sessions always done under blind conditions. Ideally, you should work with a facilitator. Facilitators are trained individuals who are fluent in the use of scientific remote viewing. It is also best if your facilitator is an active researcher, perhaps a researcher at the Farsight Institute. Active researchers at the Farsight Institute are constantly interacting with other researchers and are continually learning and applying the latest methodologies of scientific remote viewing. Working with a facilitator is particularly important for new students of remote viewing because feedback is so essential to the learning process. Feedback can be obtained in a variety of different ways. Sometimes feedback is obtained through a monitored session. The monitor can be a facilitator, and the facilitator does not have to be in the same physical room where you are doing the session. Many people can be monitored using speakerphones where the monitor is somewhere else on the planet listening to your session while you are doing the session in your own home. When sessions are monitored in this fashion, everything that you write down, everything you also speak. That way the monitor can follow your session completely. Every once in a while, the monitor may ask you to fax a phase three sketch to them. This is very valuable when a particular Phase 3 sketch may be more complicated and a simple verbal description may be difficult to convey. But usually the monitor can understand what is going on in a session without seeing the Phase 3 sketch during the session. After the session is completed, the student faxes the facilitator the completed session all pages. This allows a facilitator to give another form of feedback. Sometimes this feedback is in the form of a returned fax or perhaps an email with detailed comments about the session. Other times the viewer can speak to the facilitator or over the phone. There are other ways to obtain feedback as well. For your remote viewing work, I encourage you to contact a facilitator when you are able so that you may begin your in depth training in scientific remote viewing so that you may achieve your greatest potential as a practitioner of scientific remote viewing. But even if you proceed no further than to complete this course, you will have grown. I do not presume to know the best way that all people should grow. But I do know that remote viewing is often considered a rewarding experience on a long journey of personal growth.