SRV Lesson 9 Transcript

Phase 1 initiates contact with the target. Phase 2 deepens that contact. It does this by systematically activating all of the five senses of hearing, touch, sight, taste, and smell. In Phase 2, you will write down various cues, as well as the initial impressions that you will perceive associated with these cues. Initially, we will do this slowly, so that you can commit the mechanics of the process to memory. Once this is done, however, and you've memorized all the various parts of Phase 2, we will speed up the process very dramatically. Phase 2 begins by writing the letter capital P followed by the number 2 centered at the top of a new sheet of paper. That means you have to take the Phase 1 data and move it forward and off to the side. If you're looking at your desk, then consider putting the Phase 1 data off to the left-hand side and as far forward as possible on the desk. Also, try not to stack all of the Phase 1 data on top one page over the next. Try to spread them out a little bit so that you can glance very quickly at the various pages when you're writing in other elements of the session that will come later on. So, basically, you want the entire session to be spread out in front of you, upward toward the front part of the desk when you're doing the entire session, and you keep adding to that with each page. All new phases, including Phase 2, begin with a new sheet of paper, regardless of how much space was left on the previous sheet of paper. So, if you still had some room on your last piece of paper of Phase 1, nevertheless, you take that piece of paper, put it off to the side, and pick up a new piece of paper, number it P2 at the top, centered, of the new sheet, and begin Phase 2. The first thing you do is begin by writing the word SOUNDS, and you follow it with a colon. You do this on the top left of the piece of paper. Now, immediately after writing this cue, the cue of sounds, you will normally perceive some sense of sound. Now, obviously, this is not going to be a physical perception, but you will feel it, you will sense the idea of some sound. Well, to assist in building a vocabulary for the types of sounds that you may perceive, I am going to be reciting a list of sounds from which you can choose one or more. This recitation of sounds will stop after a few more lessons. This will happen after you have had a chance to build up your sound vocabulary. Now, here is the list of sounds that I will be reciting from which you choose one or more. If you also have another word to describe a different type of sound other than what's in the list, you must use that word as well. Here is the list that I will be reciting. horn, clanging, voices, drop, drop, drums, barking, humming, beating, trumpets, vibrating, crying, wishing, rushing, whirring. You will often perceive a variety of sounds, and you should always record all of the perceptions as rapidly as possible. The next step in phase two is to cue on textures that are associated with the target. This is done by writing the word textures on the left-hand side of the page below the word sounds. So you write the word textures, and you follow it with a colon. Typically, while writing the cue textures, or immediately afterward, you will perceive some sense of textures. You then need to write down the sense of textures that you perceive after the colon. I'm going to be reciting a list of textures for you, and the list that I will be using is as follows. Rough, smooth, shiny, polished, matted, prickly, sharp, foamy, grainy, slippery, wet. You can pick from any of those textures, or if you perceive a different sense to the texture, and you have another word to describe it, put that down as well. Now the next sensation that we are going to record in phase two is temperature. You write down the abbreviation TEMPS, T-E-M-P-S, on the left-hand side underneath the word textures, and you follow it with a colon. As with sounds and temperatures, one or more temperatures will be perceived immediately after writing the cue, and you must write down these temperatures right away. I will be giving you a list of possible temperatures that you can choose from in the beginning, and this list is hot, cold, warm, cool, frigid, sizzling. Now the next step in phase two is to cue on visuals. To cue on visuals, you write the word visuals underneath the word temperatures on the left-hand side of the page, followed by a colon as usual. Then you drop down, and you indent a little bit, and you write the word colors, but this time you do not use a colon, you use a dash. So you write the word colors, followed by a dash, and then I will be reciting a list of colors from which you can choose which color you're perceiving. And those colors are blue, yellow, red, white, orange, green, purple, pink, black, turquoise. Of course, there are other colors that you may perceive, and you should write those down when you perceive them. Again, the recitation of a list of colors, as with a recitation of a list for any of the other phase two perceptions, is not something we want to continue for very long. It's just to build up your initial vocabulary so that you have an idea of things that you can write. But we must move away from reciting a list so that after you write the cue and put the colon or the dash, there is silence while you just perceive whatever is there and write it down. Okay, now on the next line, dropping down a little bit, also indenting below the word colors, you write the word luminescence. But you don't write luminescence out. You write the abbreviation, L-U-M. If you were to write the word luminescence in the middle of a remote viewing session, the word is so long and its spelling is so complicated, it would invite the conscious mind to intervene in the remote viewing process too thoroughly. So, we just write the abbreviation for luminescence, L-U-M. As with colors, the cue is followed by a dash, not a colon. And the list of possibilities for luminescence is bright, dull, dark, glowing. Again, I will recite this list for you in the beginning. The final visual is contrast. This cue is written under L-U-M for luminescence and it is followed by a dash. So, contrast is also indented, as is colors and luminescence. And the list of possible contrasts is high, medium, low. You move now to the next phase two perception by dropping down and moving back to the left. Thus, you're no longer indenting. And you write the word tastes, followed by a colon. You're not using a dash anymore. Now, it's back to a colon. Now, the list of possible tastes is sour, sweet, bitter, pungent, salty. Now, the final cue for the five senses is smell. You drop down again, again to the left-hand side, and write the word smells, followed by a colon. You will then perceive some smells and you have to record them without delay. The list of possible smells that I will be reciting to you is sweet, nectar, perfume, flowers, aromatic, burning, dust, soot, fishy, smoke. You can also perceive cold and hot. Many viewers perceive these temperatures as smells, so we allow that in this instance. After writing down the data for the five senses, you're normally drawn much closer to the target. Evidence of this is that viewers almost always perceive many magnitudes that are related to the target at this point. Magnitudes are essentially quantities. They answer the question of how much. To probe for these magnitudes in phase two, you move down one line below what you've already written in phase two on the same piece of paper, and you indent on that page and write the word magnitudes, but you use an abbreviation, mags, m-a-g-s. You use mags for the same reason that you used l-u-m for luminescence under the visuals. It's shorter and quicker to write. Then dropping down and indenting even further, you write the various types of magnitudes. The cues that are associated with these types of magnitudes are generally long, and you should not write down the cues for these magnitudes. You simply cue yourself mentally and silently. You have to remember what the cues are. Now here is the list of cues and a collection of possible choices that you can choose from for each cue. As with the other cues, in the beginning I will be reciting both the cue and the list of possible magnitudes to go with that cue. But you will eventually need to memorize the list of cues so that you can self-cue. Again, do not write down the cues. Like you did write the word sounds, textures, temperatures. Do not do this for the magnitudes. The first magnitude is verticals. You do not write the word verticals. You just, in your own mind, cue on the word verticals by thinking it. The list of possible verticals is high, tall, towering, deep, short, squat. You then drop down and you cue on horizontals. You do not write the word horizontals. You just mentally cue on the word horizontals. You will perceive horizontals and the possible list is flat, wide, long, open, thin. You then drop down and cue on diagonals. Again, you do not write the word diagonals. You just mentally cue on it. And the list of possible diagonals is oblique, diagonal, slanting, sloping. You will feel these magnitudes. You write down whichever ones you perceive. The next cue is the word topology. Again, you do not write down the word topology. You just mentally think the word topology. You will perceive various shapes that may be associated with the target. The list is curved, rounded, squarish, angular, flat, pointed. Then you drop down and you cue on the magnitudes mass, density, space, volume. That's all one cue. Mass, density, space, volume. You mentally say mass, density, space, volume. And you'll begin to perceive some of these magnitudes. The list is heavy, light, hollow, large, small, void, airy, huge, bulky. You then drop down and cue on energetics. Again, you do not write down the word energetics. You just mentally cue on it. And the list of possible energetics, which you do write down, those that you perceive, is humming, vibrating, pulsing, magnetic, electric, energy, penetrating, vortex, spinning, churning, fast, explosive, slow, zippy, pounding, quick, rotating. In general, you must perceive at least three of the six dimensional magnitudes before proceeding further. If you do not perceive data for at least three of the dimensional magnitudes, then what's happening is that you're editing out data. Occasionally, a beginning viewer will claim that he or she does not perceive anything while remote viewing. This, again, is called editing out data. It occurs when the conscious mind enters the remote viewing process and makes the decision that a piece of data cannot be correct. This is usually perceived as doubt in the mind of the remote viewer. To remedy this situation, it's very important for students not to edit out anything. They must write down the data immediately after perceiving it. Don't worry about what it is that you're writing down. Don't worry if it's accurate or if it's inaccurate. What is important is that your perceptions, whatever you feel, whatever you perceive, whatever you see, you write down an impression of it. It does not matter how the conscious mind is occupied during this time when you're writing down your perceptions. It's perfectly all right for the conscious mind to be in a state of doubt. It can even be in a state of panic. It doesn't really matter. In fact, if you're quite disturbed and wondering about whether this is a real thing and doubting whether it could possibly be true and worried about this and that, as long as you keep recording your perceptions during all of that intellectual chaos, it's quite satisfactory. The conscious mind gets all tied up in all of these thoughts, allowing the subspace mind to slip the data past the very occupied conscious mind and using the pen to record it all down. All that you need to do is to keep track of what is to be done next and then to mechanically perform that duty correctly. This is why it's very important for you to maintain keen control of the session by monitoring the mechanics and the grammar of the protocols that you're using. This is why I emphasize that you need to remember when a colon is needed, when a dash is needed, when you're supposed to indent, when you're not supposed to indent. Keeping track of all of the seemingly petty punctuation and style of the remote viewing procedures actually keeps the conscious mind very occupied, allowing the subspace mind again to slip the perceptions through in a relatively unaltered state as you record them one after the other. The final part of phase two is to declare your viewer feeling. At the end of recording all of your dimensional magnitudes, you then begin to perceive aspects of the target very strongly. These aspects could be anything, emotional, physical, whatever. When this happens, your conscious mind responds to the data and this response must be declared in order to limit its ability to contaminate the data that are not yet collected. This response is called a viewer feeling and it is declared by writing the letters capital V, capital F, followed by a dash and then you write your viewer feeling. This is done under the dimensional magnitudes and over to the left. It is not indented. Your viewer feeling is not the viewer's perception of the target. It is not your perception of what the target is. It is your gut response to the target. It is your personal, individual reaction, your own emotional reaction to what you are perceiving. When you get through the dimensional magnitudes, the rate at which the perceptions are coming through increases so quickly that you have your own gut response to it. You don't want that bias, that gut response to carry through into the rest of the session when you are trying to perceive and record pristine data. You need to get rid of that. You need to declare it, to give it its place so that it will rest and then you go on. It's very much like a deduction, but it's not a deduction, an intellectual deduction about the target and what you perceive the target to be. It's your own personal, individual, emotional response. Now, you must have a viewer feeling at the completion of the initial pass through phase two. But it is not required, nor is it even desired, that the viewer feeling be dramatic. Your gut response can simply be OK, if that is how you feel at that point. A list of very common examples of viewer feelings are I feel good. Disgusting. I feel happy. Interesting. Awful. This place stinks. This is gross. I feel light and lifting. I feel spiritual. Enlightening. Wow. The most important thing to remember about the viewer feeling is that it is not data. It does not describe the target. Again, it is your emotional response to the target. By declaring your viewer feeling, you are acknowledging it and thereby removing it from the flow of the data. After you declare your viewer feeling, you have to put the pen down momentarily the same way you did when you had a deduction. You then let the viewer feeling dissipate for a few moments before picking up the pen again and continuing with the session. Again, we treat the viewer feeling in a similar fashion as we treat the deduction. After we declare our viewer feeling, we move on to phase three. In phase three, you draw a sketch of the target. And we talk more about phase three in the next lesson. However, in phase two, there can be some visual information that can come through while you are probing the senses. While you are probing the senses of sounds, textures, temperatures, all the visuals of colors, luminescence, contrasts, tastes, smells, and then some of the magnitudes as well, you are addressing those senses while you are having direct contact with the target. Thus, it occasionally happens that a viewer perceives an image or a quick flash of a picture in their mind while they are probing the senses. Well, one of the most important things for remote viewing is never to leave out any information that you get about the target. You want to record everything. Thus, if you get an image while you're probing something, for example, if you're probing a smell, you may actually pick up some aspect of the target that is associated with that smell. Or perhaps when you are perceiving colors or even some sounds, it is possible that a flash of a visual image may accompany this or another sense. If this happens, we want to move the pen over to the right-hand side of the page and quickly draw a small sketch of the visual image. We do this by writing the letters capital V, capital I, and then writing a dash. The VI stands for visual impression. And after you write VI and then a dash, you sketch in the image that you perceived. After you are finished with your sketch, we typically put a box around the entire sketch and the VI. This box acts to separate this sketch from the remainder of the Phase II data, as well as any other marks that may be on the page for Phase II. We have to also remember that any deductions that occur during Phase II must also be declared. So if, when you are probing the senses, you get a deduction like, this must be the Taj Mahal or feels like the Titanic or the Great Pyramid, well, you move your pen over to the right-hand side anywhere that you may be in Phase II and put capital D followed by a dash and then you write your deduction. After you finish writing your deduction, you put your pen down, take a moment break, and then pick your pen back up and go back to Phase II where you left off. The deduction should always be written at the same vertical level as the point at which you were in Phase II when you had the deduction in the first place. Thus, if you are probing sounds and you get a deduction, you move your pen directly over to the right-hand side of the page at the same level where you were probing sounds but on the right-hand side and you put D, dash, and then your deduction. You never drop it down and put the deduction elsewhere on the page because the analyst wants to know at what point in the session that you had that deduction. A deduction sometimes can be very meaningful for an analyst and the analyst wants to know what exactly triggered that thought or that conclusion. For example, what if the target was the sun and you were supposed to perceive the sun somewhere near the surface of the sun? Well, let's say you had the deduction of an atomic bomb or a hydrogen bomb or some type of explosion. The analyst would be interested in knowing what triggered your perception of an atomic bomb. Was it the sounds or was it the temperature? Perhaps it was the textures. Something in your senses triggered that other thought, that conclusion, and you should never underestimate how many times an analyst may go back over a session to try to figure out exactly what was going on in the session. Remember, we're recording things not just to find out more information about the target. We are also recording things to help us understand how we interface with or how we interact with those perceptions of the target. Remember, we are individual beings, and as individual beings, we will all individually interact with a target in a unique, different way. All remote viewing sessions are not the same for every target. For example, if someone else were to remote view the surface of the sun, they might perceive many different things, even though some things may be similar. Using another example, if two viewers were to remote view the same target, say the Eiffel Tower, one viewer may pick up a visual image after perceiving some sounds perhaps related to automobiles that may be driving at or near the Eiffel Tower, whereas the other viewer may not pick up any visual images until Phase 3 or perhaps in some other point of Phase 2. The analyst can find all of this information useful. This concludes our introduction of Phase 2. Continue now with the next lesson on Phase 3.