SRV Lesson 8 Transcript

We will now begin our next scientific remote viewing session. I am assuming that you have already completed your CSP, your consciousness settling procedure, and that you have recited the SRV affirmation. Your desk is clear except for the stack of plain white paper on the right-hand corner. You have one piece of paper in front of you and a pen. Your first page is positioned in portrait mode, which of course means the long side is vertical. Your name goes in the upper right-hand corner. Do that now. Below your name, you write the date. In European or military format, which is the day first, followed by the month, followed by the year. The date underneath your name. And then underneath the date, you write the time. Look at your watch and write down the time of this session. Be sure to put AM or PM. On the left-hand side, upper left-hand corner, write data, colon, data, followed by a colon, type 4. Data, colon, type 4. And under that, on the left-hand side, write monitor, colon, Courtney Brown. Monitor, colon, Courtney Brown. In the top middle of the page, write capital PS-, that's for physical state, and declare your physical state. If it is fine, simply write fine. If it's okay, write okay. If you are experiencing any problems, any soreness, anything, write it down. Declare your physical state now. Below that, write capital ES-, that's for your emotional state, and declare your emotional state now. Do that now. Below that, in the center again, write capital AP-, and declare your advanced perceptuals, if any. Do that now. Put the pen down for a moment. Now pick the pen back up, move your hand over to the left side of the page, and prepare to receive the target coordinates. You will be writing the target coordinates, and immediately after writing the last digit, you will put your pen to the right of the target coordinates. Immediately, an ideogram will come out. Let us begin. Feet on the floor, back straight, feel comfortable. Remember always, you write the first four digits, and then underneath the first four digits, you write the second four digits, and then you draw your ideogram. Here we go. Two, zero, one, seven. Seven, three, zero, one. Capital A, followed by a colon, write that, and now describe the movement of the pen with words. The ideogram has already been drawn. Describe the movement of the pen with words, using words that typically end in W-A-R-D or I-N-G. Words like downward, upward, sloping, curving, horizontal, flat across, flat along, angle, slanting, peaking. Whatever words fit, describe the movement of the pen from start to finish in the drawing of the ideogram. Do that now. Now let us probe the ideogram. Put the point of the pen on the ideogram. Press in gently. Let us obtain our primitive descriptor. As you're pressing in the ideogram with the point of the pen, how does it feel? Does it feel hard, soft, semi-hard, semi-soft, wet, or mushy? Pick one, and write it down underneath the description of the movement of the pen. Probe the ideogram now. Two or three times is fine. Is it hard, soft, semi-hard, semi-soft, wet, or mushy? Pick one, and write it down. Probe the ideogram again for your advanced descriptor. Put the point of the pen on the ideogram. Press in. How does it feel? Does it feel natural, man-made, artificial, movement, energetics? Which one? Pick one. Natural, man-made, movement, artificial, energetics? Pick one. How does it feel? Write it down underneath the primitive descriptor. Underneath that, write capital B colon, and now declare your first intuitive thought regarding what you think the ideogram represents. Examples are no B, structure, water, dry land, wetland, motion, person, mountain, city, sand, ice, swamp. No B is fine, but also if you feel that it is anything else, look at the shape of the ideogram and how it feels. Put down a B if you perceive one. Underneath that, put C colon. Probe the ideogram again. Put the point of the pen on the ideogram one or more times, and perceive any further information about the aspect of the target that is addressed by this ideogram. Probe the ideogram. What do you feel? Any textures? How does it feel? Any smells? Probe the ideogram. Any sounds? What sounds do you perceive as you probe the ideogram? Any temperatures? Probe the ideogram. As you perceive things, write them down in C, in a column just listing them in part C. Perceive and then write them down, one at a time. Extend your feelings through the ideogram. What does the target feel like? Okay, let us prepare to receive the target coordinates again. Your first piece of paper, put off to the side. And get a new piece of paper. Number this piece, page 2, in the upper right-hand corner. Move your hand to the left, sit up straight, feet on the floor, and prepare to receive the target coordinates again. As always, write the coordinates down, the first four numbers, and then underneath that, the second four numbers, and then you put the pen immediately to the right, and the ideogram will be drawn. Let us begin. 2-0-1-7 7-3-0-1 A-colon. Write that. Now describe the movement of the pen with words, using words that typically end in W-A-R-D and I-N-G. Again, words like upward, downward, vertical, horizontal, diagonal, sloping, curving, moving, slanting, curving under, curving over, horizontal flat across, horizontal flat along, things like that. Do that now. Describe the movement of the pen with words. Now let us probe the ideogram with the point of the pen. For our primitive descriptor, put the point of the pen on the ideogram, gently press in. What does it feel like? Is it hard, soft, semi-hard, semi-soft, wet, mushy? What does it feel like? Do that now. Probe the ideogram. And now put your primitive descriptor underneath the description of the movement of the pen. Now let us probe the ideogram again for our advanced descriptor. Put the point of the pen somewhere on the ideogram, press in gently. What does it feel like? Is it natural, man-made, artificial, movement, energetics? What does it feel like? Natural, man-made, movement, artificial, energetics? What does it feel like? Write your advanced descriptor underneath your primitive descriptor. Underneath that, write capital B colon. You may probe the ideogram one more time if you need to. Declare your first intuitive thought regarding the meaning of this aspect of the target that is represented by this ideogram. What does it feel like? Examples of B are no B and O dash capital B. Structure, water, land, dry land, wetland, motion, person, mountain, city, sand, ice, swamp. What does it feel like? Write it down in B. If you are unable to decide, that is all right. You can just put no B. But look at the shape of the ideogram. What kind of ideogram does it look like? And then touch it. How does it feel? Put that down as B. Now write capital C colon underneath the B. Probe the ideogram again and perceive other characteristics of this aspect of the target. Probe the ideogram gently. What does it feel like? Do you perceive any colors? If you do, write them down in C. Probe again. What about sounds? Textures? Does it feel rough or smooth? Does it feel shiny or polished? What about matted or prickly? Any other textures? Temperatures? Does it feel hot, cold, warm, cool, or what? What kind of temperatures do you perceive? Sounds? Smells? Whatever you perceive, probe the ideogram and write it down in C. Alright, let us prepare to receive the target coordinates again. Take the piece of paper that you're writing on now, put it off to the side with the first piece of paper. Away from the center of the desk, put it off to the side. Get another piece of paper and put the page number 3 in the top right-hand corner. Move your hand to the left and prepare to receive the target coordinates. Write them down, the first four numbers, and then underneath that, the second four numbers. Then place the point of the pen immediately to the right of the target coordinates and an ideogram will be drawn. Let us begin. Ready? Feel comfortable. Loosen your hand. Make your hand nice and relaxed. Back straight, feet on the floor. Here we go. 2, 0, 1, 7, 7, 3, 0, 1 Capital A colon. Describe the movement of the pen with words. Again, use words that typically end in W-A-R-D and I-N-G. Again, example words that can be used are vertical, diagonal, sloping, curving, downward, upward, slanting, curving under, curving over, horizontal, flat across, things like that. Do that now. Describe the movement of the pen with words. Now probe the ideogram with the point of the pen and obtain the primitive descriptor. Put the point of the pen somewhere on the ideogram. How does it feel? Press in gently. Is it hard, soft, semi-hard, semi-soft, wet, or mushy? Pick one. How does it feel? Write that down underneath the description of the movement of the pen. Again, probe the ideogram to obtain your advanced descriptor, pressing in gently with the point of the pen. How does it feel? Is it natural, man-made, artificial, movement, energetics? Which one? How does it feel? Write that down underneath the primitive descriptor. Underneath that, write capital B colon. You can probe the ideogram one more time if you need it and declare your first intuitive thought regarding what you feel this ideogram represents. Make your evaluation based on the shape of the ideogram and how it feels as you probe it. Again, no B is fine, but if you sense that the ideogram represents something that you recognize, then put it down. Now underneath that, write capital C followed by a colon and probe the ideogram again for other characteristics of the target that is represented by this ideogram. Probe the ideogram. Do you hear any sounds? Are there any visuals, like colors? Do you perceive any surface textures? Probe the ideogram, perceive this, and write it down. Anything else? Continue to probe the ideogram. Write down whatever you perceive in part C. All right. Take this page and put it off to the side with the other pages that you have already completed. Take another piece of paper. And put the new page number, page 4, in the upper right-hand corner of the page. Now move your hand to the left side of the paper. Back straight, feet on the floor. Relax your hand. You can shake it out if you need it. Sit comfortably, feet on the floor. Prepare to receive the target coordinates. Here we go. 2-0-1-7 7-3-0-1 Capital A colon. Describe the movement of the pen with words. Do that now. And write it down after the A colon. 7-3-0-1-7 7-3-0-1-7 Now probe the ideogram with the point of the pen. Put the point of the pen on the ideogram. Press in gently. What does it feel like? Is it hard, soft, semi-hard, semi-soft, wet, or mushy? Perceive your primitive descriptor. And write it down underneath the description of the movement of the pen with words. Do that now. Perceive your primitive descriptor. Probe the ideogram again for your advanced descriptor. Put the point of the pen on the ideogram, pressing in gently. Does it feel natural, man-made, artificial, movement, energetics? How does it feel? Write it down underneath the primitive descriptor. 7-3-0-1-7 Underneath that, write capital B colon. Write your first intuitive thought regarding what this ideogram represents. You can touch the ideogram with the point of the pen one more time if needed. Declare your B. Underneath that, write capital C colon. Probe the ideogram again. What do you perceive each time you probe the ideogram? What do you perceive? And write it down in part C. If, in part B, you declared no B, and you are probing in part C, and then you decide that you do have an idea of what this ideogram represents, then you can put, underneath C at any point, another capital B colon, followed by your declaration of your B. That is a way that you can change a no B into a declared B of some target characteristic. If you do this, then after you declare your B, you write capital C colon again underneath that, and continue to probe for more information about the target under C. Keep probing for C information now. Use the point of the pen to probe the ideogram. What sounds do you perceive? Write them down. Textures. Write those down. What about smells? Any smells? Probe the ideogram, continuing to write down any perceptions in part C. Okay. All right. Now take this piece of paper, put it off to the side with the other pieces of paper that you have already completed, get a new piece of paper, and in the upper right-hand corner, write the page number 5. Move your hand to the left. Stay relaxed. Feet on the floor, back straight. You can shake your hand if you need to. Keep it relaxed. And now prepare to receive the target coordinates, writing the first four digits and then underneath that the second four digits, and then immediately putting the point of the pen on the paper and letting the ideogram be drawn. Here we go. 2-0-1-7 7-3-0-1 Capital A colon. Describe the movement of the pen with words. Do that now. Be sure to put a comma between each separate movement. Describe the movement of the pen with words. Probe the ideogram for your primitive descriptor. Put the point of the pen on the ideogram. Press in gently. What does it feel like? Is it hard, soft, semi-hard, semi-soft, wet, mushy? Pick one. Probe the ideogram two or three times. Write that down underneath the description of the movement of the pen. Probe the ideogram again. Is it natural, man-made, artificial, movement, energetics? Probe the ideogram and write that down, your advanced descriptor, underneath your primitive descriptor. Underneath that, write capital B followed by a colon, and now write your first intuitive thought regarding what you feel this ideogram represents. Evaluate the ideogram using the shape of the ideogram as well as its feel, how it feels when you probe it. Underneath that, write capital C followed by a colon, and continue to probe the ideogram. Probe the ideogram, pressing in gently with the point of the pen. What sounds do you perceive? Textures. What textures do you perceive? What do any surfaces feel like? Temperatures. What temperature is it at the target site? Probe the ideogram. Perceive this. Any smells? What smells do you perceive as you probe the ideogram? Any colors? Continue to probe the ideogram, writing down your perceptions in part C. If while you are probing your ideogram, you feel you need to change your declaration in your B, you can do so by writing another B underneath your C data, B colon, and make your revised declaration. This sometimes happens when a viewer is probing for data under C repeatedly. While we do not want to get into a habit of second-guessing ourselves, if we occasionally feel the need to change our B, it is useful to know that it can be done. But right now, continue to probe in section C for more data. Put the point of the pen on the ideogram. What do you perceive? Keep probing the ideogram, and after each perception, write down what the perception is. Try to describe each perception with one word, if possible. Continue to probe the ideogram. Colors? Textures? Sounds? What does it feel like? What does it feel like to see? After each perception, write it down. OK, at the bottom of this page, write the word, end. And next to that, write the time. Look at your watch. What time is it? Put the ending time at the bottom of the page. Remember to put a.m. or p.m., whichever it may be. Now relax. Assemble your papers. This time, you have five pieces of paper. You have drawn five ideograms, so spread out all five pieces of paper in front of you, so you can see each one. Now I will tell you the target for this session, and write the target down at the bottom of the fifth page. The target for this is 9 o'clock a.m. New York local time. You write it in the following way. The World Trade New York local time, end parentheses. Now let's talk about this target and your data. Look over all of your data. Of course, the primary characteristic of this target are the two twin towers of the World Trade Center. Those are structures, and these structures are in Manhattan, an area which is, of course, filled with many structures. Look over your ideograms and see if you have any structure ideograms. Sometimes people find that their ideograms are decoded incorrectly. What they thought was one thing was, in fact, something else, and then when they find out what the target is, then they realize that that is the perception of that characteristic. So be gentle on yourself, but look over your ideograms. Again, look for any ideograms that look like structures. How did you decode them? Did you decode them accurately? You can evaluate your decoding based not only on your declaration of your B, but also in the data that are in Part C. Look through all of your pages of data and see what you have done. In addition to looking for evidence of structures in your data, remember that there are many, many, many people that work within the World Trade Center. Those two twin towers are almost like cities in and of themselves. There are also many people around the Trade Center. Remember that when you do remote viewing, it is best to think of your perception as comparable to that of a camera that is being moved from one place in time to another. Thus, there is no guarantee that you will see any one particular aspect of a target, but your perception is simply moved to the location of the target in time and space, and then you perceive what you will perceive. Sometimes one viewer will notice people at a target site, and another viewer may not notice the people at the same target site. So there is going to be variation from viewer to viewer. Nonetheless, look over your data and see if you did perceive any people, any subjects at this target. In addition to the structure of the World Trade Center and the subjects that work and move around the World Trade Center, there are also automobiles, buses, taxis, things like that that are moving around the base of the World Trade Center. Also, the World Trade Center is near a large body of water. It is not far from the Atlantic Ocean, and it is very close to the Hudson River. So you may have also picked up water when you were perceiving the World Trade Center. In addition, you may have ideograms that represent land. The World Trade Center is on land. So look over your data very carefully and look at what you are able to discern about this target using Phase 1. While you are doing this, let me tell you a little bit about myself and what I am doing when I am monitoring one of your sessions in these lessons. We have found that it is very important that the monitor be settled in his or her mind when the session is proceeding. It is not that the viewer is just doing all of the work and the monitor can be doing anything from chewing on chips to watching a video or listening to a walkman or anything like that. In fact, nothing like that can happen. It is very important that the monitor be as deeply settled as the viewer. Thus, before every remote viewing session, which we use in this course, I either have just finished my morning meditation, which for me takes about an hour and fifteen minutes, and then I immediately begin the recording of the monitoring of the session, or if I am doing the recording in the afternoon, then I perform CSP before the recording to ensure that my mind is settled during the recording. You have to understand that we have discerned in remote viewing through all of our studies that time really does not exist. It is not a time that we are actually doing the session. It is a limitation in our perception. So just because the monitoring for these sessions has been done at one time and you are actually doing the session at another time, that doesn't make any difference at all. If my mind is wandering at the time I am doing the recording, then your perceptions when you are doing the session can also wander. Let me give you a very interesting example. There were two viewers that were both very talented at the Farsight Institute, and one was monitoring the other using speakerphones. So they were at a very long distance between themselves and they were connected up via speakerphones and one person was doing the session and the other person was listening and monitoring. Well this particular target was a rather straightforward target and the monitor who was doing the monitoring in his basement began to get a little bored and he stood up and started to walk around the basement looking at his library of books on shelves. And as he started to do this, the viewer, as the monitor heard over the speakerphone, said something like this, Hmm, this is strange, I was at one target location and now I've shifted, it's like I've moved quickly to another spot and here I'm perceiving it's darker, it's dimmer, it's like it's dusty and there's books on shelves on the walls of some place. And then the monitor of course realized immediately what was going on so the monitor quickly went back to his desk, sat down and re-looked at the piece of paper that had the actual target on it and then the viewer said, Oh, now I've shifted again, I'm now back to the first place where I was. And the monitor simply said, Continue. So you see, what goes on in the mind of the monitor deeply affects what goes on with the perceptions of the viewer. At the Farsight Institute during our research we have actually discovered a great many more interesting effects relating not only to the monitor but to the analysts of the data but we will not be going into any of that right now. But just understand that when you're taking this course here with me, that we are preparing our presentations to you, our monitoring as well as our lessons, as carefully as we prepare our own remote viewing sessions. Monitoring and instructing are very closely linked phenomena. Alright, for now, continue to look through your data, look very closely at all of the pages of your data for this session which we have just completed. Then take a break of at least an hour before proceeding on to the next lesson.