SRV Lesson 7 Transcript

We are now going to perform our first scientific remote viewing session. In order to begin, you must have completed CSP, the Consciousness Settling Procedure. You're sitting at your desk. The desk is clear. There is a stack of white paper on the right-hand side of the desk. You have a blank sheet of paper in front of you, and you are holding your pen. In the upper right-hand corner of the page, which you position in portrait mode, which is the long side going downward, vertically, you write your name. The name is in the upper right-hand corner. Right below that, you write the date. The date is in European or military format, where the number, the date comes first, followed by the month, followed by the year. So write the date now underneath your name, the day, the month, and the year. Below the date is the time of the session. So you can look at your watch, note the current time, and write that down. Be sure to put a.m. or p.m., whichever it is. On the left side of the page at the top, write data, followed by a colon, and then type 4. So it's data, colon, type 4 in the upper left-hand corner. Right below that, write monitor, colon, Courtney Brown. Right below the data type 4, you write monitor, colon, Courtney Brown. In the center at the top of the page, you write capital P. S., which stands for physical state, and a dash, and then you write something that describes your physical state. If it's fine, just write fine. If it's good, just write good. If there's any problems you're having, any stiffness in the back, or any soreness in the leg, or whatever, just write that. Declare that now. Underneath your physical state, write capital ES followed by a dash. That means emotional state. And so you declare your emotional state now. If you're fine, just write fine. Okay, just write okay. If you're a little worried, put that. If you're happy, put that. If you're excited, put that. If you're whatever, just declare your emotional state at this time. Right underneath ES you write capital AP followed by a dash-AP. AP again, stands for advanced perceptuals. Anything you may think you perceive about the target, declare that now. Get rid of it. Put it down. Now you prepare to receive the target coordinates. Now you move your writing hand down to the left-hand side, below where it says monitor. In a clear portion of the page, I'm going to give you the target coordinates now. You write down the target coordinates. There will be eight numbers. You write four on top, then you drop down a little and write the second four. Now as soon as you write the last digit of the eight numbers, four on top and four right below that, as soon as you write the last digit, put the point of the pen on the paper immediately to the right of the target coordinates that you have just written. Relax your hand and an ideogram will come out. You will draw an ideogram. Again, you're going to write the target coordinates, four digits on top and immediately below that, four more digits, and then you put the point of the pen to the right of the target coordinates and you will draw one ideogram. All right? Let's begin. Prepare to receive the target coordinates. 7, 5, 0, 0, 9, 8, 7, 6. You should have drawn the ideogram by now. If there was any problem with it, don't worry. You'll practice again in just a minute or so. Now immediately to the right of the ideogram, you write capital A followed by a colon. Now let's describe the ideogram. We want to describe the ideogram in process terms. Remember how to write the descriptions of the ideogram. How does the ideogram start out? Where does the pen go? Is it going vertically upward or horizontally flat across or diagonally upward, peaking, or whatever? Use words like vertical, horizontal, diagonal, and you want to use words that end in I-N-G or W-A-R-D. You can say things like curving upward, curving downward, slanting upward or downward, things like that. Also angle, vertical downward, horizontal flat across, things like that. So describe the movement of the pen with words using words that end with I-N-G or W-A-R-D mostly. Do that now. Simply describe what the pen did. I will wait for you as you write the description of the movement of the pen in words. Okay, you should be finished now with writing the description of the movement of the pen. Now you take the point of the pen and you probe the ideogram. That is, you take the point of the pen and you touch it directly on the line of the ideogram. Try to pick a spot somewhere in the middle of the ideogram. Anywhere will do, but just for now, try someplace in the middle and probe it. And then you will perceive a primitive descriptor. Probe it, push the point in. As you push the pen in, how does this target feel? Is it hard, soft, semi-hard, semi-soft, wet, or mushy? Put the point of the pen on a different position of the ideogram. Poke around a bit, about two or three times. Is it hard, soft, semi-hard, semi-soft, wet, or mushy? Probe the ideogram and make a choice. Which one is it? Feel it. Hard, soft, semi-hard, semi-soft, wet, or mushy? Now write your choice of a primitive descriptor underneath your description of the ideogram. Underneath, in Part A, on the right-hand side of the page, write your choice of your primitive descriptor. Now probe the ideogram again. The same way you probed it before, pick a spot someplace on the ideogram, put the point of the pen on it, and push in a little. Does it feel natural, man-made, artificial, movement, energetics? What does it feel like? This is your advanced descriptors. Probe the ideogram in two or three spots and make a choice. Does it feel natural, man-made, artificial, movement, energetics? Which one? Do that now. That should be enough. Now write your advanced descriptor underneath your primitive descriptor. Now directly under your primitive and advanced descriptors, you write capital B followed by a colon. And you can touch the ideogram one more time if you need to, but otherwise, what is your sense about what this ideogram represents? Here's a list of possible Bs. No B, which is spelled N-O, dash, capital B. Structure, water, dry land, wetland, mountain, motion, person, city, sand, ice, swamp. If any of those feel right, put them down. You're simply declaring an initial guess about what that ideogram feels like. No B, capital N-O, dash, capital B, is the most common, so feel free to put that down as a B. If you have any other thoughts about what it feels like, put that down, but only choose one. All right, now underneath your B, put capital C followed by a colon. Now you want to probe the ideogram again, once or twice, and perceive anything else about the target. You want to keep low level in a sense of perceiving colors, textures, any smells, any tastes, any high level ideas. You put off as a deduction by writing capital D, dash, and whatever that deduction may be. Put your pen down if you have a deduction, and then pick the pen back up after a moment and continue probing the ideogram. What we want is some data under C. Things like sounds, any textures. Does it feel rough, or does it feel smooth, or how does it feel? Temperatures, is it hot, cold, warm? How does it feel? Probe the ideogram right now and put these impressions in a vertical list in part C. Each impression under the last, any visuals such as colors. What about tastes? Again, smells. Continue to probe the ideogram and write down your perceptions in part C. I'll wait while you do this. Do this a number of times. Probe, and then write down your perception. Probe again, and then write down your perception. Do that now. So, extend your feelings as you probe the ideogram. Put the point of the pen on the ideogram, and as you push gently into the ideogram with the point of the pen, you are actually extending your awareness to the target. What do you feel? Whatever you feel, put in part C. Keep your descriptions low level, such as smells, colors, textures associated with any surfaces or whatever. Continue to do that. So, all right. Now let's go to a new piece of paper. Put two in the upper right hand corner of the new piece of paper. The first piece of paper, move off to the side and in front of you. Put it off to the left and in front, so it is away from your writing area. Again, put a page number two in the upper right hand corner of the new piece of paper. And now on the left side of the paper, prepare to receive the target coordinates. You will write them down, the first four numbers, and then underneath, the second four numbers. And then, after you've written all eight numbers, you put the point of the pen on the paper immediately after writing the last of the eight numbers, and an ideogram will appear. Ready? Prepare to receive the target coordinates. Relax. Keep your feet on the ground. Back straight. Good posture. Here we go. 7, 5, 0, 0, 9, 8, 7, 6. You should have already written the ideogram. It should have come out immediately. Now, to the right of the ideogram, write capital A, followed by a colon. And now you describe the movement of the pen with words. Describe the ideogram, the movement of the pen, with words. Again, using words that end in W-A-R-D and I-N-G. Like downward, upward, slanting, curving, horizontal, vertical, peaking, angle. Things like that. Horizontal, flat, across. Horizontal, flat, along. Curving, over. Curving, under. Sloping, diagonal, vertical. Things like that. Using whatever words are needed to describe the movement of the pen for your ideogram. Do that now. Okay. Now let us probe the ideogram. Take the point of the pen and put it on the ideogram, someplace on the ideogram. Make sure it's actually on the line. Push in a little, gently. Let us get our primitive descriptors. How does it feel? Is it hard? Soft? Semi-hard? Semi-soft? Wet or mushy? Which is it? How does it feel? Push in. Feel it and then write that immediately underneath the description of the ideogram in Part A, on the right-hand side of the paper. How does it feel? Hard? Soft? Semi-hard? Semi-soft? Wet or mushy? Now, let us probe the ideogram again to get our advanced descriptor. Put the point of the pen somewhere on the ideogram. Push in. How does it feel? Natural? Man-made? Artificial? Movement? Energetics? Pick one. How does it feel? Do that now. Probe in two or three spots. How does it feel? Pick one. Again. Natural? Man-made? Artificial? Movement? Energetics? Pick one. How does it feel? Make sure you write something. Don't worry about whether it is correct or incorrect. Don't worry about that. Just probe and make a declaration of your advanced descriptor. Now, immediately underneath your primitive and advanced descriptors, you write capital B followed by a colon. And now let's make your declaration of your B. If you need to touch the ideogram with the point of the pen one more time, that's okay. Options for a B are No B, which is capital N O dash capital B. Structure, water, dry land, wet land, motion, person, mountain, city, sand, ice, swamp. Anything fit, then put it down. Declare your B. And if you can't tell or if you're uncertain, no B is fine. But if you get anything, any ideas, any guesses, put that down. How does it feel? Now underneath that, put capital C followed by a colon. Let's probe the ideogram again. How does it feel? Now we want low-level data about the target. Probe the ideogram again. Is it hard? Is it soft? Is it rough? Is it smooth? Matted? Is it prickly? Slippery? Wet? What is it? Feel it. Probe the ideogram. Is it hot? Cold? Warm? Is it frigid or cool? Any sounds? Listen if there are any sounds while you're probing the ideogram. Any colors? Blue? Yellow? Red? Orange? Green? Anything? Any colors? Just probe the ideogram. What about any tastes? Smells? Any smells? Probe the ideogram. Pick up anything at all as you probe the ideogram. Low-level information describing characteristics, feelings, perceptions. And put those in C. I will wait as you do this. Probe and put perceptions down one after the other. Do not be hesitant. Do not be afraid. Do not be afraid. Do not be afraid. Do not be afraid. Never be hesitant or fearful about whether your perceptions are accurate or inaccurate. Never evaluate them. Don't worry about that. Just probe and write down your perceptions. Make it mechanical. Feel and write. That's all. Okay, let's go on to our next page. So you take page 2 and put it up there with page 1. Off to the left and in front someplace. Get it away from your writing surface and get a new piece of paper. And write a page number, 3, on the upper right-hand corner. Do that now. And on this new clean piece of paper, we move our hands over to the left and we prepare to write the target coordinates. Remember that each time that you receive the target coordinates and you draw an ideogram, unless there was a mistake in the previous ideogram, you will be with a new ideogram going after some other or different aspect of the target and so the ideogram is likely to be different than the previous ideogram. If the ideogram is the same as the last ideogram, then there might have been a decoding error with regard to the last ideogram and so you might have that information with you when you decode the next ideogram. But in general, expect each ideogram to have its own unique flavor. So let us now prepare to receive the target coordinates. Relax. Feet on the floor. Back straight. Comfortable. Remember you will be writing all 8 numbers, 4 on top and then 4 below those. And right after that, put the pen on the paper immediately and an ideogram will spontaneously come out. Let us now receive the target coordinates. 7, 5, 0, 0, 9, 8, 7, 6. Now we put an A colon, capital A colon, on the right, to the right of the ideogram and we describe the movement of the pen using process words, often words that end in W-A-R-D or I-N-G. Again, words like vertical upward, vertical downward, diagonal, sloping upward, sloping downward, curving, slanting, curving under, curving over, horizontal flat across, horizontal flat along, things like that. Describe the movement of the pen with words. Now we want to probe the ideogram to get our primitive descriptor. Probe the ideogram with the point of your pen. Push in gently. Put the point of the pen on the actual line of the ideogram. Push in gently. How does it feel? Is it hard, soft, semi-hard, semi-soft, wet or mushy? How does it feel? Do that now. Perceive it. Probe two or three times and then write your primitive descriptor underneath your description of the movement of the pen. Now let us probe the ideogram again. Is it natural, man-made, artificial, movement, energetics? What do you feel? Put the point of the pen on the ideogram. Push in a little. How does it feel? Does it feel natural? Does it feel man-made? Does it feel artificial, movement, energetics? Touch it. Push in with the pen. How does it feel? Now write that perception underneath the primitive descriptor. Do that now. Now underneath that, write capital B colon and write your guess with regard to what this ideogram represents. How does it feel? You can also probe the ideogram once more to help you along, just to give you a better idea. Here are some examples. No B. Structure. Water. Dry land. Wet land. Motion. City. Any of those fit? Put them down. Again, no B is fine. But if any others fit, if they feel like it, put those down. Do that now. OK. Underneath your B, put capital C followed by a colon. And now probe the ideogram again, always taking the point of the pen, putting it on the ideogram, pushing in, just gently, and get other perceptions relating to the target. What about temperatures? How does it feel? Warm? Cool? Frigid? What does it feel like? Temperatures. What about textures? Any textures? Rough? Smooth? Polished? Sharp? Foamy? Wet? Slippery? Anything? Write it down. What about sounds? Probe the ideogram. Any sounds? Probe that ideogram. Any smells? Do that a few more times. Probe, perceive something, and then write it down. Always low-level information, basic sensory data. All right. We want to take the target coordinates another time, but before we do this, let us take the piece of paper, page three, that you are on now, and put that off to the side, and then just listen for a moment. I want to repeat the basic information about the timing of the ideogram in the following way. Let me give an example using different target coordinates. Let us simply say that the target coordinates are 1, 2, 3, 4, 5, 6, 7, 8. Well, I am going to make a whoosh sound, the sound that I would normally hear from your pen if I were actually in the room where you are doing this session. When there is a group of remote viewers all learning the process of scientific remote viewing, we expect to hear all of the people who are learning the process to make a similar whoosh sound with their pen at the exact same time. And if that does not happen, we note that someone is delaying or doing something else that needs to be given some special attention. So in this particular setting,with the audio version of the Farsight Voyager course,we... I want to give you another example of how your pen should sound when you are taking the target coordinates. So I will say the numbers 1,2,3,4,5,6,7,8 the way I would if I was actually saying those coordinates. And then I want you to listen to how quickly the whoosh sound occurs. In this case,I am using my voice to imitate the pen sound,of course. Okay,here is the example. Do not write anything down. Just listen. 1,2,3,4,5,6,7,8. That's how fast the ideogram comes out. I will say it again. 1,2,3,4,5,6,7,8. Basically,as soon as the 8 is written,which is the last digit of these coordinate numbers, the pen is just moved to the side immediately, the point of the pen is on the paper,and an ideogram immediately forms. With some viewers,the ideogram begins to form just as they are finishing the writing of the last digit of the target coordinates, and they don't even have time to pick up the pen point and put it on another spot right next to that number. It just starts right away. But in general,we want to control the process a bit more, and to allow a pause of about half of a second while we move the pen from the last digit of the target coordinates to a new spot just to the right of that before the ideogram actually forms. Okay,let us now continue with our session,and you will take the target coordinates. You need a new piece of paper. In the upper right-hand corner,number this page 4, and then move your hand to the left side of the page and prepare to receive the target coordinates. Be relaxed,feet on the floor,back straight. Okay,here we go. Write this down. 7,5,0,0,9,8,7,6. Now put an A colon to the right of the ideogram, and describe the movement of the pen with words, using words that typically end in W-A-R-D or I-N-G. Do that now. Now probe the ideogram. Take the point of the pen and locate it on the ideogram itself. Push in gently and obtain your primitive descriptor. Does this part of the target feel hard,soft,semi-hard,semi-soft,wet,or mushy? Which one? Probe it. What does it feel like? And now write the primitive descriptor underneath the description of the movement of the pen with words. Now probe the ideogram again, and obtain your advanced descriptor. Probe the ideogram with the point of the pen. Does it feel natural,man-made,artificial,movement,or energetics? What does it feel like? Probe. And now enter your advanced descriptor underneath your primitive descriptor. Now write on the right underneath that, capital B colon, and write your first intuitive thought about what this target aspect represents. Again, no B is fine. Otherwise, you may declare a different B. Do that now. Underneath your B, put capital C colon, and probe the ideogram two or three more times to obtain any other perceptions about the target, and write these low-level words after and under C. Do that now. Now at the bottom of this page, write end, E-N-D, and put the time. We are ending this session now. Look at your watch. What time is it? Put down end, and then put down the time. Make sure you put A.M. or P. M., whichever it may be. Now let us assemble our pages. Take all pages, and put them in front of you so you can see them all displayed at once. And let's look over our data. Now I am going to tell you the target. When I tell you the target, there almost always is a strong feeling that the viewer has about the target. Don't worry about your initial reaction. Most viewers are very critical of their own work, much more than other people are critical of it. So very simply, when I say the target, write it down at the bottom of the last page. And then we will examine some of your data. The target for this session is Mount Fuji, Japan, 15 February, 1999, 12 noon, Mount Fuji, local time. The target is written Mount Fuji, followed by a slash, then the word Japan, then a parentheses, then 15 February, 1999, comma, 12 noon, Mount Fuji, local time, and then the end parentheses. Now let's look over all of your data. Let's have all of the pages in front of you. And let's look at what Mount Fuji actually has, the characteristics that Mount Fuji has. Some viewers also like to go to an encyclopedia, or sometimes to the Internet, to find out more about a particular target following a session. Mount Fuji is a very interesting target. First of all, it is a mountain, of course, and it is in Japan. It has sloping sides. On top, there is a crater. It's a volcanic mountain. It's got snow on top, especially in February. It's very cold on top. There are lots of trees around Mount Fuji, all around the base and going up some of the sides. There's also flat land and a very large lake, Lake Yamanaka, that is very close to Mount Fuji at its base. There are also many people that climb up Mount Fuji. It's a very popular hiking location. People like to climb up to the crater at the top. There are also structures at the base and around Mount Fuji, so we can pick up on any of those things. Aspects of this target that are very clear are that it is a natural setting. It does contain a mountain. That is the essential aspect of the target. But if you did not have a mountain ideogram, that does not mean that your data are incorrect. We have long known in remote viewing research that a remote viewer is comparable to, say, a camera. And when you target something, you're taking this viewer's perception, just like you're taking a camera, and you're moving it to a location and a time. One thing that we notice in our remote viewing research is that you cannot force a viewer to perceive X, Y, or Z. The only thing you can do is put that viewer's perception at a location and a time, and then they will perceive whatever they perceive. When groups of remote viewers are sent to the same target, it is very typical for each viewer to have their own individual perceptions of the target that are, in many ways, quite unique. You don't treat a remote viewer's perceptions the way you treat a television set where you turn it on and you expect to get the exact same thing depending on what channel you turn into. We're not that type of a machine. We have the perception, it shifts to a location and a time, and when it's done that, you have to allow the viewer to perceive whatever is going to be perceived. This is where training comes in, because the more you do this, the more you train, the more you practice, the better you get at decoding what these things are. Now, many people, when given the Mount Fuji target, will perceive the mountain. But again, there is no guarantee with regard to any single perceptual aspect. Some viewers may pick up the snow at the top. Some viewers may focus on a person that's at the top climbing around on rocks. Some people may perceive the water in the lake of Lake Yamanaka at the base of Mount Fuji. Others may perceive some structures that are around Mount Fuji. Most people, however, will get the idea of some type of a natural environment. And if, by chance, you did not perceive the idea of a natural environment, do not be at all concerned about this. You are new at this. This is a brand new field for you, a brand new set of experiences. It's very important for all viewers, when they start out, to be gentle with themselves. Just trust the process. Trust the mechanics of the process. Learn the mechanics of the process, and you will see things as you get better and better at perceiving these things. Now, let's look over your data. What do you have there? In particular, look at your ideograms. And then, also, look at your bees. What kind of bees do you have? Do you perceive any land? Did you perceive that the target was on land? Did you perceive that there was a natural environment? Did you perceive any individuals, any ideograms? Do you perceive temperatures? Perhaps you may perceive cold temperatures due to the snow at the top of Mount Fuji in the middle of February. You may perceive water at the lake. Look at the various things of all of the pages. Do expect that in the beginning of your remote viewing training, there will be decoding errors. There will be situations when, in fact, it turns out to be entirely different. Do not worry about that. We're just learning. In the past, we have always relied on our eyes, our tastes, our hearing, smell, our touch to perceive things and to know it. Now, we're learning a new language. And with any language, the more you do it, the better you get at it. After a while, you get the sense of what feels like natural. And then you get the sense of what feels like man-made. And then you get the sense of what feels like land or what feels like water. And you get to recognize these senses with greater levels of accuracy. This is the first session you have done. In particular, notice your ideograms. This is your first chance to use real ideograms. Your vocabulary for ideograms is just now beginning to develop. And the more you do sessions, the more you will see the vocabulary will be settling in to a pattern. You may now proceed to the next lesson, but take a break first and then continue.