SRV Lesson 4 Transcript

Following your B, you write capital C followed by a colon. Here is where you write your intuitive perceptions about what the ideogram feels like. This is usually just a word or two that describes very low-level perceptions relating to the ideogram. Examples of such perceptions are colors or textures, such as rough, smooth, polished, things like that. You may also feel the perception of size, such as big or small, short or tall, wide or narrow. You make these perceptions by probing again the ideogram with the point of the pen as many times as you would like. Beginning viewers typically do this five or six times. Occasionally, you may also perceive that there is nothing new that you have not already described with the primitive and advanced descriptors under Part A. If that happens, you can write No C. That's capital N-O dash capital C. Typically, you will find that as you gain more experience with doing remote viewing sessions, you will be able to perceive more and more in your Part C of Phase 1. To summarize, the Phase 1 procedures are, first, take or receive the target coordinates. Second, draw an ideogram. Third, you describe the movement of the pen during the drawing of the ideogram using process terms rather than labels. Fourth, you probe the ideogram for primitive descriptors. Fifth, you probe the ideogram for advanced descriptors. Sixth, you make an initial declaration of a low-level description of the target aspect that is captured by the ideogram, or simply declare that there is no declaration, such as saying No B. And seventh, you list other intuitive feelings regarding the ideogram, if there are any. This entire sequence is typically done three to five times in Phase 1, going through all seven steps each time. The idea is not to use Phase 1 to identify all of the aspects of the target, but rather to establish initial contact with the target by describing a few of the primary target aspects only. Then you proceed immediately to Phase 2. One final note about the ideograms. If an ideogram is not decoded correctly, for example, let us say you decoded an ideogram as water, when in fact it was land, or perhaps the reverse. The ideogram is nearly always immediately repeated with the next taking of the target coordinates. Thus, there is a self-correction factor that's built in to the Phase 1 procedures. But this is only true if the ideogram repeats itself after the most recent preceding ideogram. If, for example, your first ideogram is decoded as water, and your second ideogram is decoded as a structure, and then your third ideogram comes back and is decoded as water again, and it looks the same as the first ideogram, then your first decoding of your first ideogram was probably correct, because it did not come back with the second ideogram. And the third ideogram, which was a repeat of the first, indicates that you have probably exhausted the primary gestalts of the target, and it is acceptable then to move on to Phase 2. In general, you repeat the taking of the coordinates and the drawing of the ideograms three to five times. Advanced viewers often take the target coordinates and thus draw an ideogram five times, regardless of whether or not an ideogram repeats itself. The reason for this is advanced viewers often want to get as much valuable information from Phase 1 as possible, and each taking of the coordinates, and thus each drawing of an ideogram, produces a tremendously rich body of data for each gestalt. But when you're just learning scientific remote viewing, it is acceptable to take the coordinates as few as three times, as long as the ideograms do not repeat themselves back-to-back. If, however, you take the coordinates up to five times, regardless of what happens, move into Phase 2. Let's go over an example of what might occur in Phase 1. Let us say that the first ideogram is decoded as a structure. The second ideogram looks different, and from this we assume that the first ideogram was decoded correctly. We decode the second ideogram, saying that it is hard and natural, with a B of land. On the third taking of the target coordinates, the second ideogram returns. This tells us that we most likely made a mistake in decoding something in the previous, which is now the second ideogram. We probe again, and this time, finding that the ideogram really feels more like it is hard and man-made, and we declare no B. We take the coordinates again, and the structure ideogram returns. Now we know that we have exhausted all of the major gestalts. We then decode the final ideogram and move on to Phase 2. After the end of the session, we find out that the target was, say, a shopping mall, containing a structure and a large parking lot, which is, of course, man-made land. Now, we need to develop some skill in drawing ideograms by practicing some drills. Our students at the Farsight Institute typically drill with a few standard ideograms that have established meaning. Now, what that means is these ideograms are established because many viewers tend to use these same ideograms to represent the same things. Usually about seven or eight pages of drills are all that's required in order to set in place some initial ideogram vocabulary for the viewer. And in the drills that we're going to be doing right now, I will be speaking words such as structure, or land, or water, and a variety of others. And what you are going to be doing after I say a word is you will be drawing an ideogram. Now, the first thing that we need to do is sit comfortably at our desk with a pen and some plain white paper. We want to make sure that all of the paper that we use when we remote view is plain white. The best type is to use white paper that's used for photocopying. This type of paper can be purchased at any office supply store. It has no other markings on it. It is pure white. You never want to use any paper that is lined or has any other prior markings on it. You want to make sure the paper is totally blank, totally clear. And photocopying paper also is very smooth. The first ideogram which we are going to practice in our drills is for a structure. Take a look at the page for the ideograms in the printed manual that accompanies these lessons. Look at the figure that describes various ideograms for structures. Notice that the structure ideograms always have vertical and horizontal lines with one angle. Now, it may be that in the future you will develop your own specific and individual ideogram for a structure. But for right now, let us try to use one of those ideograms for structure. Now, you're sitting calmly at your desk. You're writing on a smooth writing surface. You have your pen in your hand. And you're looking at your white piece of paper. A little bit over towards the left. Giving yourself enough room to write. You never want to write anything closer than an inch from the edge of the margin of the paper. So you want to be to the right, but about an inch away from the margin. We're getting ready to write our first ideogram. I am now going to say the word structure. And for the first ideogram, I'd like you to use the ideogram where the pen moves vertically upward. And then shifts at a right angle and moves off to the right. So it's vertical upward, angle, horizontal, flat, across, moving to the right. So it's upward and then to the right. So when I say the word structure, you have your pen, touch the paper at that point, draw a short vertical line, and then a horizontal line off to the right-hand side. The entire ideogram should be about two or three inches in width and about one inch in height. So you don't want the ideogram to go too far off so that it has the pen moving off the edge of the page. You want to always keep the ideogram within some boundary in the center of the page or a little bit off to the left. Okay, let us begin. Check to make sure everything is ready, that you're sitting comfortably at your desk, pen is in your hand, and you're getting ready to write your first ideogram. Let us go. Remember, write the ideogram only after I say the word. Structure. Now, immediately, as soon as I've said the word, your pen should already have hit the paper, gone vertically upward, and then over to the right. It should be very fast, like ch-ch-ch, very quick. All right, let's do it again. Get ready. Structure. Again, you should have written an ideogram that had a vertical line and then the pen should have moved off to the right at a right angle. All right, let us do it again, but this time I am not going to speak between saying the word structure. I'm just going to say the word structure, and then immediately you draw your ideogram, vertical upward, angle, horizontal, flat across. And then there'll be a pause, and I'll say it again. And you immediately draw it. And just move down the page, one after the other, with each ideogram below the next, until you fill up the page. And if there is room to the right, on the right-hand side of the paper, then you can continue drawing more ideograms as you go up to the top of the page, on the right-hand side of the paper, moving down. So you will end up having two columns of ideograms, one on the left and one on the right. If your ideograms are a little bit too wide, don't worry about it. Just, when you get down to the bottom of the page, take that piece of paper, move it off to the left-hand side, and take another piece of paper, put it in front of you, and continue drawing one ideogram after the next on the new sheet. Let me repeat one last point for emphasis. You must not delay at all after I say the word structure. As soon as I say the word structure, the point of the pen must immediately be on the paper, and then a drawing will come out spontaneously. Do not think about it. It will be like this. That fast. That fast. Very fast. New remote-viewing students typically deliberate for a second or two after the cue is said, before putting the point of the pen on the paper. So you want to be sure not to do that. You want to put the pen on the paper immediately, and an ideogram will immediately be drawn. Let's begin. Structure. Structure. Structure. Structure. Structure. Okay, that's the basic pattern. Now, again, look back at the printed manual that accompanies these lessons to look at the figure for the structures. Notice that another structure ideogram begins with a horizontal line across, then the angle, and then a short vertical line moving upward. That's a different version of the same type of structure ideogram. Generally, structure ideograms always have two perpendicular lines joined together at an angle. So let's do some structure ideograms using the second ideogram, which is horizontal, flat across, and then vertical, upward. I will begin to say the word structure again, and you continue by drawing that ideogram now. Structure.Structure.Structure.Structure.Structure.Structure.Structure.Structure. Okay, now we're going to switch to the third type of structure ideogram, which is a vertical line short downward, then the angle, and then horizontal flat across going to the right. So you have a short vertical line downward, and then moving the pen at a perpendicular angle off to the right. All right, let's try that one now. Structure. Structure. Structure. Structure. Structure. Structure. Structure. Structure. Structure. Structure. Structure. All right, now let us do the final ideogram for structures, and that is a horizontal line to the right with an angle and then vertical downward. So it's horizontal right across, then move perpendicularly downward. All right, let us begin. Structure.Structure.Structure.Structure.Structure. Structure.Structure.Structure.Structure. Notice that I was varying the pace slightly with which I was saying the word structure. The whole idea with using ideograms is that the subspace mind has to be able to get through past the conscious mind to make a movement with your hand so as to make a mark on the paper. If the conscious mind has too much of an expectation of what's going to happen, then it can try to control the process and you will not get an innocent ideogram. Now when we use target coordinates, it's very important that you allow that subspace mind to draw the ideogram immediately. When I say target coordinates, later on in future lessons, you will have to put the pen on the paper immediately afterwards and then draw that ideogram. If there is a two or three second delay between writing the target coordinates and drawing the ideogram, that's more than enough time for the conscious mind to intervene and to distort or perhaps fabricate a false ideogram. So quickness after the cue is important. There is a bit of unexpectedness after hearing the target coordinates or the cue that is exploited by the subspace mind to make the initial movement. Alright, now let's move on to another ideogram. And this ideogram will be for land. The most common ideogram that's used for land is simply a horizontal flat line. We describe it by saying horizontal flat across. Let us prepare now for practice using the new ideogram, which is a horizontal flat line representing land. Again, I will start now saying the word land and you immediately, immediately draw the ideogram after I say the word. Keep your pen above the paper until after I say the cue, which in this case will be the word land. And as soon as I say the word land, then you put the pen on the paper and immediately draw the horizontal flat line for the ideogram for land. Alright, let us begin. land land land land land land land land land land land land Okay, now let's move on to the next ideogram. And that is the ideogram for a mountain. The mountain ideogram is in the shape of an upside-down V. It's simply sloping upward, peaking, and then sloping downward. You can look at the printed manual that accompanies these lessons in order to see a picture of a mountain ideogram. It is simply the shape of a mountain, or an upside-down V. Let us now begin with mountain ideograms. I will say the word mountain, and then immediately afterward put your pen on the paper and draw a sloping line going up and then downward in the shape of an upside-down V. All right, let us begin. mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain mountain Okay, let's move on now to a subject ideogram. You can again look at the printed manual that accompanies these lessons to see a fairly typical subject ideogram. Generally speaking, almost everyone's subject ideogram has a curve or a loop of some type in it. Perhaps the most common subject ideogram is the one that is included in the manual, and that's where there is a curving line going upward, curving over and backward, and then coming down, looping under. So you're actually making like a loop that crosses at the bottom. Again, take a look at the subject ideogram in the manual. With that in mind, let us now begin to draw subject ideograms. Get ready. Okay, here we go. Subject Subject Subject Remember that ideograms are always drawn very quickly. Subject Subject Remember that you do not need to overly rush or push the drawing of the ideogram. You need to put the pen on the paper and simply let it come out quickly. It will come out naturally and easy, but it will be quick. Subject Subject Subject Subject Subject Subject Subject Subject Subject Subject Subject Alright, now let's move on to the final of our pre-set ideograms, and that is for water. Some people have ideograms for water that are very similar to the ideogram for land, which is simply a horizontal flat line. However, many people use a wavy horizontal line to represent water. Having a wavy horizontal line is often better than having a flat horizontal line, because sometimes it's a little difficult to figure out the difference between a water surface and a land surface, since they both look flat and sometimes are irregular in the surface, especially if the water is a bit choppy. So, having a horizontal line that's wavy gives you a little bit better edge of decoding the ideogram correctly. So let's try using the wavy horizontal line for the ideogram for water, and use that as a drill. Get ready. Water Water Water Water Water Water Water Water Water Water Water Water Water Water Water Water Water Water Water Water OK. This completes our first set of ideogram drills. You may now continue with the next lesson. Thank you.