SRV Lesson 5 Transcript

We are now going to work on ideograms a bit longer. I want to tell you why the ideograms are so important. The best model we have for the remote viewing process, the mechanical reason for why it works, is based on the understanding that our electrochemical mind, the brain, is like a supercomputer. It's a physical machine. And the soul, or the subspace mind, is non-physical but very real. Now there has to be some type of connection between the soul, or the subspace mind, and the electrochemical, physical, biological machine, the brain. In order to have a connection between a subspace mind and a physical thing, like a brain, there has to be some type of interface. Now in computers, this interface is typically called a bus. It is the connection between the central processing unit, or the CPU, and the rest of the machine, the parts that run the monitor, the keyboard, the audio parts, everything else. So what we need to focus on then is the bus, or the connection, between the electrochemical conscious mind and the subspace mind, the soul. What we think, the best theory that we have right now, is that there are essentially two, at least, two different buses. One connection between the soul and the electrochemical mind helps to animate the rest of the body, the mind, the brain. It allows us to think, to move our arms, to move our feet, and everything else. But the other bus, or connection, between the subspace mind and the electrochemical brain, allows for a transfer of perception from the soul, or the subspace mind, to the electrochemical consciousness. What we think, based on remote viewing data, is that the connection, the bus, between the subspace mind and the perceptual abilities of the electrochemical brain, is very limited. Meaning, the brain is genetically set up so that the soul's awareness, the soul's ability to know things, can get through into the electrochemical consciousness only in small amounts, bit by bit, piece by piece. A friend of mine once told me that it seems, from the remote viewing evidence, that the subspace mind is virtually infinite in its perceptual abilities, and that the electrochemical physical brain is like a supercomputer, and the connection between the two is like an old 1930 telephone connection. The link is clearly there between the two minds, but it's very primitive, in the sense that it cannot receive information very quickly, it cannot transfer information very quickly. Thus, we do not have the ability, as humans, to perceive everything that the subspace mind can perceive, with the rapidness with which the subspace mind can have these perceptions. In essence, we get it in bits and pieces, and have to put the remote viewing data together from these bits and pieces. It's analogous to, say, getting a lot of phrases transferred over, and never getting a full paragraph transferred over. So from all these phrases, you have to then put together what you think the paragraph actually is, these bits and pieces. You get images, but the images are like flashes, very brief, and you don't really get an idea of what they represent, or what they are, it's just a picture. And you get feelings and senses, but they're brief, they're momentary, they come through piece by piece. So the remote viewing process, in fact the entire Farsight protocols of scientific remote viewing, are designed to get as many of these pieces of information in as organized form as is possible, down onto a piece of paper, so that later we can analyze all these bits and pieces and put them together, and reconstruct what we think to be the actual full target. Now this brings us to the ideas of the ideogram. You see, the ideogram is the closest representation to the actual target that we have in the entire remote viewing session, because the subspace mind has the most control over transferring that information to the piece of paper. It has more control over that than anything else. So what we want to do when we draw these ideograms, is we want to write down the target Q, which will be a set of numbers, the target coordinates, and then we want to put the pen on the paper, the point of the pen on the paper, as quickly as possible after writing the last digit of the numbers. You've already heard me emphasize how important it is that the point of the pen go onto the piece of paper as quickly as possible after writing the last number in the target coordinates. But I really should relate to you many of my experiences when I have been in front of a class discussing how to draw ideograms, and then students draw their very first ideogram, having been told how quickly it has to be between writing the numbers and putting the pen on the paper. And virtually everyone, if you could take a camera and watch what they were doing, and then show it back to them, virtually everyone would see that there was a moment of deliberation between writing the numbers and actually putting the point of the pen onto the paper. So in a course such as this, it is absolutely essential that I caution everyone to write down the numbers and to quickly put the point of the pen on the paper and to allow the ideogram to come out by itself. There should be no moment of conscious deliberation, trying to feel what the ideogram will be like, or wondering how it's going to be in putting the pen on the paper. Nothing like that. You must simply trust the subspace mind, your own subspace mind, and you take the pen, put the point on the piece of paper, and by itself an ideogram will come out. It will be very fast. Now we do not want you to get panicky about this so that you move the pen to start writing the target coordinates so quickly that the paper flies off the desk and the pen flies out of the hand. It's not like that. It's just that the viewer has to trust the subspace mind to do its job, and the only thing you have to do is be mechanical about putting the pen on the paper, and so on. So enough said about that. Let us practice some more ideograms. They are very important. We're going to be probing these ideograms later, and we want to make sure that our cooperative arrangement between our conscious mind and our subspace mind is fully developed. So what I'm going to do now is to repeat cueing words such as structure, land, mountain, things like that, and right after I say the word, simply put the pen, the point of the pen on the paper, and draw the appropriate ideogram. And we will do that for about 20 minutes so that you have a good level of practice in addition to the practice which you had in the previous lesson. But this time we will mix the ideograms up a little bit. Okay, so get relaxed and prepare to draw your ideograms, and as soon as I say the word, draw the appropriate ideogram. Structure. Structure. Structure. Land. Land. Land. Mountain. Mountain. Mountain. Mountain. Subject. Subject. Subject. Subject. Water. Water. Water. Water. Water. Structure. Structure. Structure. Always, if you need more paper, simply get another piece of paper and continue. Land. Land. Land. Mountain. Mountain. Mountain. Mountain. Mountain. Subject. Subject. Subject. Subject. Water. Water. Water. Water. Now I want to introduce to you another ideogram. As we continue our drills, we want to add this new ideogram to our drills. And it's the ideogram for movement. In many targets, things can be moving around, or there can be some movement of an object or a person. And we want to be able to capture that with an ideogram. Now I'm not going to tell you what the ideogram should look like. We are just going to use the cue of movement and allow an ideogram to come out. Put the point of the pen on the paper and allow an ideogram to form. And I will repeat the cue, movement. And each time I do this, simply draw the ideogram by putting the point of the pen on the paper and allowing it to come out. Now, what will happen is that an ideogram will begin to form. Meaning, the first ideogram may or may not be the final ideogram. A pattern will develop, and your ideogram will settle into that pattern, so that you will have an ultimately recognizable ideogram for movement. So let's begin developing that pattern for our new ideogram for movement. Ready? Movement. Now you should have seen an ideogram form. Now let's see what happens as we continue with the cue. Movement. Movement. Movement.Movement.Movement. Movement.Movement.Movement. Movement. Now you should be seeing that the ideogram is evolving, settling into a pattern. With some students, the pattern forms very quickly. With others, it may take a page or two of ideograms before a final movement ideogram begins to solidify. So let's continue with some more repetitions of the cue movement to let the movement ideogram settle into its pattern. Okay. Ready? Movement.Movement.Movement. Movement.Movement.Movement. Movement.Movement.Movement. Movement.Movement.Movement. Movement.Movement.Movement. Movement.Movement. By now I hope you have begun to realize how useful these ideograms can be because they are so quick. Since there is a slow transfer rate from the subspace mind to the electrochemical biological brain, these ideograms are short pieces of information and these short pieces of information can be easily transferred with very significant accuracy to the electrochemical conscious mind. So we want to develop actually one more ideogram in this lesson and that's the ideogram for energetics. Energetics can be an outflowing of energy. It can be very fast or it can be relatively slow. It can be a lot or it can be a little. But generally speaking, the energetics ideogram appears when there is a very significant amount of energetics or energy. It's normally different from movement. Movement uses one form of energy, kinetic energy, but energetics refers to energy that is being radiated outward in some form. For example, the sun, the surface of the sun has plenty of energetics. A bomb exploding has energetics radiating outward. The exhaust of a rocket is filled with energetics. Something moving very quickly with explosive capabilities or fire, just a campfire can have energetics because there is some radiant energy depending on how close we are to the campfire when we perceive it. If the target is the actual campfire, our perception may be actually very close to it and we can perceive the flames as energetics. So we want to allow our subspace mind to have its own word or its own ideogram for this type of radiating energy. I will now begin to say the word energetics as a cue and immediately after I say the word energetics, put the point of the pen on the paper and allow an ideogram to form. As with the ideogram for movement, we will repeat the cue for energetics a number of times until the ideogram settles into a pattern. All right, get ready. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Now, you might also realize that energy being expended does not have to only be radiant energy. It can also be a churning type of energy or energy of many different types. For example, if you are remote viewing a dam that is creating hydroelectric power, you may be perceiving the churning water as it is turning the turbine propeller blades as it generates the electricity. Or, if you are watching the Niagara Falls, if you are perceiving the Niagara Falls in a session, you may pick up all of the water crashing downward as a form of energetics. So, energetics can manifest in a variety of different contexts and in different forms. Let's again continue with the cues for energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. You should be seeing a pattern begin to develop so that the ideogram for energetics is beginning to have a form to it, a set form, that you can recognize in part or in whole in a session at a later date. Again. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Energetics. Now we want to return to the movement ideogram for a little while. Ready? Movement. Movement. Now I will switch back to energetics. Energetics. Energetics. Energetics. Now if the ideograms have not yet settled into a very clear pattern, don't worry about it. It will happen in its own time. Just continue with the drills. Energetics. Energetics. Energetics. Energetics. Now for the remainder of the time for this lesson, I am going to mix up all of the different ideograms that we have learned so far. Ready? Subject. Water. Movement. If things are getting a little confusing, don't worry about it. Just keep with the drill. Things will settle down. Energetics. As you become more and more familiar with the ideograms, you will be more and more comfortable using them. Structure. Land. Energetics. Movement. Water. Water. Energetics. Land. Subject. Structure. Water. Subject. Water. Land. Structure. Mountain. Mountain. If something doesn't go right and you miss an ideogram, don't worry about it. Just keep continuing with the drill. Structure. Land. Water. Subject. Energetics. Structure. Movement. Movement. Water. Subject. Structure. Land. Water. Structure. Energetics. Land. You'll notice that I change the pace as I recite the cues. That's all right. It keeps the conscious mind a little off guard, allowing the ideogram to be more spontaneous. Land. Water. Energetics. Movement. Land. Subject. Water. Water. Energetics. Mountain. Structure. Land. Subject. Subject. Water. Movement. Energetics. Land. Energetics. Energetics. Land. Subject. Water. Land. Land. OK. Now you can continue with the next lesson.