With the risk of writing a piece of almost sci-fi literature, I had the compulsion of writing again about ideograms and later I entered the signal line subject.
These are my personal ideas and my search to understand the process and mechanism of Remote Viewing. Under no circumstances am I proposing changes to the original CRV structure. However, there is liberty of thought and expression. So please take your salt shaker again and start adding it to the mix as much as you like. Less experienced remote viewers are strongly encouraged to follow procedure, as their teachers are expecting them to do!
Since remote viewing deals with a nonlocal field that is the mind, or consciousness, it turns out logically we cannot expect to capture the behaviour of such quantumly behaving object inside a rigid box. Especially when it also demonstrates an atemporal property.
Let me ask you something: can you decide as a writer in which day precisely are you going to be struck by inspiration? Or as a painter, when the next interesting subject is going to invade your field of view? I don't think so.
Can a psychotherapy patient foresee when his soul will click back in place? Well, some will do, as it was the case with one of Carl Jung's patients but that is seldom the case (the lady told him she was going to visit him ten times before healing would happen).
Speaking about quantum behaviour of the mind, if we try to squeeze it in a very tight time and space, it will diverge in other aspects, following the uncertainty principle. In remote viewing terms divergence would translate into useless data.
The only thing that we can train is how we react to the dynamics of this Ocean that is the
subconscious. We can place a control panel in front of it. And that control panel is the CRV protocol. From my point of view, the subconscious is everything in the Universe that we do not know, at any given moment. It's quite a lot but that is our Mind. Remote Viewing is just a method to retrieve memories from our Extended Mind. We train to build some cosmic synapses leading us right to the subject of interest.
Ideograms can be seen as reactions of our nervous system to something that is impacting it for such a short time that it is not detected by the left part of the brain. Or not completely.
I pondered on how and why do ideograms appear and work.
We feel the target shortly with our nervous system and that generates a reflex action guided by the electrical synapses. In this case the ideogram flows directly from the target number as a sudden burst of energy
We catch a short glimpse of the target in our visual cortex and we rapidly send the main characteristics of the flashing image to the hand and generate an approximate fast representation. This case is still happening almost always when ideograms are made immediately after writing the target number. But the rapid conversion of the visual faint stimulus to the ideogram is done unconsciously so we seem to have made them as a reflex action.
We draw the ideogram separately from the target number and that is in fact showing that there is data accumulation until release as an ideogram. Every second of delay means processes going on, information gathering. Too many processes and we get into the thinking stage which means we are going to get a wrong result. But there is clearly a longer path the information is making through the nervous system. Which means it is decoded perhaps from visual or even higher order data like symbols, meanings, internal language. Many times when using pre established ideograms as a form of rudimentary laguage, we are using in fact learned reflexes that are slower than somatic reflexes and take more time.
We see the ideogram minutes or hours before starting the session. And that is alright. Simply because mind is non local and it doesn't sit where we want it to sit and when. It goes before us, that is it's purpose and that is what Nature made it for. To precede us. It happened to me to have short flashes with the ideograms hours before starting the session. The session was great. And in complete accord with the ideograms.
In the first case, we'll get probably one impulse and the rest is going to be a wavy squiggle. That is because our body will respond to the first encountered object at the site and then it will no longer have the same sensibility to "bump" and detect the other details.
I did experiments to try and feel the pressure in my abdomen as the tip of my pen was approaching a rectangular drawn structure, and it is true, with a sudden shiver coming from the navel chackra, we can get past the first obstacle at the site. It is almost as if an energetic clone of our nervous system was going rapidly over the target site and interacting fast with the objects, left to right.
I did the same experiment with my left hand from right to left. I passed over triangular structures, pole like structures and inside enclosed structures. The somatic reflexes are indeed working.
Around corners of rectangular structures I could see small loops forming. In some cases if we draw tangents to the ideogram we can recover the initial object. That is an interesting possibility to research. Usually because of the impact and inertia the ideogram will be larger than the actual representation of the object as a matter of scaling on paper. We are dealing with our bio-mental energy impacting and reflecting from and around structures.
But if we try to cling to the ideograms we are losing one aspect: we are not decoding the ideograms. Ideograms help us merely calibrate the "scannning area" of our mental RADAR. Ideograms are just echoes of a "PING" impulse to make contact with the target. Yes, we are drawing "PONGS", it is funny.
Every time we tap the ideogram we are telling our mind-field that we are accessing precisely that area of the whole space. This is why some people have flat ideograms or the ideograms are repeating. Ideograms-or the mysterious yet process right before the ideogram- are only making the connection to the target or signal line.
Before adhering strictly to CRV I observed that every point on the ideogram can generate an ideogram of it's own. It is similarly to Huyghen's principle of propagating perturbations or waves. This way we can increase the resolution and probe deeper and deeper, unpacking the initial ideogram in a tree structure. We can also delegate the new details to other remote viewers of a team, for further exploration. This ensures that the mistakes of the first remote viewer do not propagate further than his own session. But this is another subject all together that I am exploring.
Sometimes during the S3 we need an initial move of the hand to take place that is then going to be modulated by the real signal. Same things happens in dowsing and also in some technical domains. We need an initial push that is going to be altered by a following signal.
This is called a carrier signal. Then, when the real signal starts adding movement, there is a feedback loop forming in between our body and the ...pendulum swing, let's say. And the loop starts a resonance which is going to amplify actually the real signal. So through the pendulum we are amplifying our minute nervous response to the target site.
The Remote Viewing protocols are doing the same thing, creating a loop, a resonance with the target site that will strengthen and amplify whatever comes through the signal line. Until the resonance becomes so intense that we integrate completely with the target or signal line. But those are already theoretical aspects that are discussed briefly in the C.I.A. CRV manual as possible stages 8 to 11 of Remote Viewing.
Like it or not, we are creating things. There is a subtle resemblance here to the creative process. An artist is using the same process to create a new piece of art, a new novel, a new sculpture, design, architecture. But this is the same thing as a remote viewing session. We must have the same freedom as an artist. But this freedom must follow rules.
It is a paradox, I know. However, artists are better at Remote Viewing, and I can tell you from experience. Also graphic artists are making better snipers than non artists. It has to do with targets, also, yes. Targets? Drawings? Intent? Concentration? See the connection yet? It is there.
Control? Yes! But do you want to fly this plane? Yes? Then let is fly first. Flight is a controlled fall. Fortunately nobody broke his spine from an inaccurate remote viewing session. The subtle balance in between creativity, intuition and rules is what we want.
Staring down the white paper with no data coming through? How about an artist's block? Another aspect: the more alive is your inner world, the more alive and "creative" your sessions will become.
This has to do with the libido energy too, the soul energy, the Light. The Signal Line if you will. And that is not active only when we are doing Remote Viewing. It is our guiding light continuously. The link in between our nervous system and the world. The energy running along our spine, from abstract worlds to the ground and back.
This is why doing Remote Viewing properly, opens all the other doors to us and we can rapidly understand and in some cases rediscover and understand and reformulate on our own the other equivalent or similar disciplines.
The Signal Line, thus, is a nexus to many worlds. Spiritual worlds, physical worlds, temporal worlds. It is a main conduct of energy and information, of informational energy, that extends up and down to infinity. And we are on a small floor...we don't even know or guess the number of the floor.
The informational Stem of a multidimensional tree. There are other universes, other beings, other times, along this stem. And this remind me a lot of fantastic novels like The End of Eternity by Isaac Asimov, or Eon by Greg Bear, where the authors are describing such infinite populated structures, in time and space.
Has this Signal Line been built by some higher entities? Are there some Engineers of the Signal Line out there, somewhere? Has Remote Viewing been given to us by them precisley that we learn this technology and become aware of it? Something makes me think so.
Are we going to become like them? For sure we got what it takes as a race. This is why I had written in the first place the article: Remote viewing: the shadow of a bigger object? It is my intuition that we are living on such a structure.
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