Slow motion analysis of a remote viewing session.
Trying to fend off Analytical Overlays and struggling to make the perfect ideogram? This article is based on my own observations on the phenomenon called Remote Viewing. By no means do I intend to change or deform the standard CRV(Controlled Remote Viewing) method.
It contains also a transcript of a recent session where I commented "live", while doing the session, on my mental state and ideas that came to me. The comments are in between "<...>" brackets.
I think the ideogram is a short echo from when our mind hit the target. A radar signature. The process that happens is so short we cannot have an X-ray of what is actually happening. So we tend to say that the ideogram is the important thing. But if that was the case, then we have advanced viewers who do not even bother to probe the ideogram on the first page. They just probe the signal line part on the middle of the page. And that makes the significance of the ideograms to fade a bit. But in fact what happens-and I sat and tried to dissect my own mind while drawing an ideogram- is that 1) there is a connection established by our intent, like a lightning or tendril right to the target site 2) we get a very fast impression of the site that is simply not remembered by the conscious mind 3) what remains from the whole flash image is a vague reflex that goes towards the body and hand, and that is the ideogram. 4) Once the ideogram is made, there is a sort of remnant of the initial connection and we are at one of it's ends. 5) We become aware that we are in a special state, a somewhat mildly altered state of mind and that state of mind is to be kept alive and stable by using our intent. 6) We are now trying to keep open the mouth of a wormhole by extracting informations and the more informations the wider it is or maybe the depth of field is changing and we get more panoramic. That is still to be explored. 7) Now that the wormhole is stabilyzed, and in fact our special mental state is what stabilyzed, we can look around and feel more things. 8) The mouth of the wormhole or signal line is kept from collapsing (as any wormhole would do) with the aid of the negentropic action of the intention. The moment when session data starts to combine with brain data, we get AOL's and the tunnel collapses under the pressure of the analytical data and memories. If we sit with the target number in front of our eyes, do an ideogram and nothing else happens, it means we are waiting passively for the paper to talk to us. It will never happen. The magic key to all RV is the intent to find data and the personal conviction that RV is possible. So stop waiting for the ideogram to speak. You will never get anything like tat other than a few minutes of staring at a blank page. The internal movement is to know you can do it and have the intent of doing it. Why do artists make better RV sessions? Because they are creative. That is what an artist's main attribute is: creativity. Creativity comes from inspiration. Inspiration doesn't come by staring at the canvas. It comes from an initial seed from which you can build something new. In RV we must be creative in a controlled way. Just as an artist comes up with a new design, so a remote viewer comes up with a sketch or a good session. Or a bad session, it doesn't matter. But at least you finished the job. I will explore some more this phenomenon but for today it is all I could extract from my meditation and self analysis. Until I dozed off.
Well, this is precisely Bruce Lee's approach when creating Jeet Kune Do. Each man is unique an his responses are unique. After learning the basic kicks and punches and defences and attacks, one is on the path to express himself as a human being and transform his personal way of being into the perfect weapon or style for him. Do not forget that Ingo was an artist. You cannot tell an artist when and how to paint something. That is a job for an interior designer. As for this war of the ideograms, I think nobody understands anything about ideograms. I hope everybody knows we are speaking about two sides of the same coin here. For example my approach, in my article was that the ideogram is a reflex response of our body to a short energetic swipe of the target that will encode either visually or kinesthetically. It depends on what type of person we are. The short glimpse of the target is so weak that it remains mostly under the threshold of awareness, and if we do the ideogram TOO fast, we are not going to let the body decode correctly what it briefly perceived and the ideogram will be a jumbled squiggle. If we do it too slow, we let the mind imagine things. What I observed is that when done properly, a free ideogram will include in it's flowing shape, the major shapes in the lexicon approach! A correctly made ideogram can be interpreted as both approaches. That is because if we "hurry in a slow manner" we can catch even the general shape of the site. So I do not understand why this type of wars. If we use too much the lexicon method we might miss other aspects of the target. If we do the ideogram too fast, we are going to loose data through entropization . Like trying to drive a racing car at full speed through an elaborated city. If you go at an average speed you might actually follow the road! If you do it too slow, you won't make it to the destination. So from my point of view this "war" is for nothing, really. Ideograms are simply describing the general aspect of a target. Period. And why do we make mistakes? Because we do not wait and listen to our senses when doing them. We either make them too quick, betting that our poor body for sure will be a kind of Zorro and catch everything in a nanosecond. Or because we do not want to admit that there are images already under our threshold and that what we do is simply reacting to those evanescent shapes. You try to paint Mona Lisa by rapid brush wiggles and see if it resembles the original.
In the following transcript I show that during the session I could recognize that I had worked previously, three months ago, on the same target. I thought it was an AOL and wrote it and sketched it at the end of the session, and that AOL was in fact the correct answer to the task to which I was double blind.
The task was from Sandra Hilleard's remote viewing site called ProjectX . Sandra Hilleard is my mentor and the ProjectX is a site that generates targets automatically and then compares the results by using a special software. The software is searching for words and synonyms from the sessions and tries to offer us an idea on our accuracy as remote viewers. It gives feedback only after uploading our sessions. I am encouraging you to go and give it a try!
The funny and interesting thing was that I had almost failed that target twice, but while doing the task I could recognize that I was starting to describe things that were in fact similar to another past task. And I even commented that I was thinking that I did this target before.
So my manner of failing was the same in both sessions! That was how I recognized the target before feedback.
You will see a slightly weird notation simply because I chose this time to work in a style that I developed before finding the Remote Viewing groups on Facebook, on my own. I experimented.
Here follows the session.
My comments are in "<>" brackets, the S7 data is in " [] " brackets. The S7 comes to me as little whispers, directly, with no musical encoding or other artifices. And in internal language.
TASK 0276-0130
<I think an initial "statement" is important. Example: I am already connected to the target, I can do this, RV is possible>
S1
sloping up, curving up, up around, around, down diagonally, around, sloping down, around, diagonally down, around, sloping down, wavy, sloping down, inflection, across.
<Drawing the ideogram, we can move the pen a bit slower to let the subtle details build into the movement and get decoded correctly. So not too fast, not too slow. Too fast, and our body will not get the details very well, and it will distort and jumble them up...too slow and our mind will take over and imagine things.>
B: man made
C: land, structure, water
<Now I am going to probe the ideogram and identify the details.>
<The idea is not to build on previous data by using deduction, in the first stages.>
S2
[dynamic], [round], stone, wall, close, [shape], [shape of things to come], [finite], sticky, [predator], [sphinx], stone, sunlight, orange, yellow, sand, sunset, dusk, cold, shadowy, moist, [region], [together], horizon, blue, gray, mountains.
AOL1: Egyptian Sphinx
What I want to mention here is that the Sphinx IS the symbol for cryptic meanings and riddles.
Also there was this french cryptographic machine from the same age, named the Sphinx:
<Now the Sphinx AOL got my field of view and I perceive it like a dream state. I can WAKE UP from that dream and return to the main task>
<I can feel my intent goes somewhere in the left upper corner of my view. And the AOL is like a deviation to the left, into the Sphinx AOL, a shift from the real task>
oblique, layered, stone, sand, crunching sound, moist, white, gray, [obelisque]
<Right now I feel I am not on target and my mind tends to get bored.>
<The papers on my left, I feel them like perturbing me. I feel the need to push them aside>
<My breathing is fast and my brain needs air like it must solve a geometry problem. I identify this sign as a bad sign since the cognitive processes need energy and air. So I am not on the right track. I assume that if I bring down my breaths per minute I can get a more right-brain state.>
<I feel tensed. The muscles in my scalp are tensed, like I am too keen to find data, I feel tension in my head. I am annoyed by the fact that I think my data is not good.>
<But who am I to say the data is not good??>
<I must go on>
flat, [direction], [landscape], [prison], [point...]-french language, opening, cleavage, serious, business, [etoil=star.french], [chemin=road.french], walking, punctured, holes, [remembered], [fade in], [fade away]
<I can feel the AOL1 dissolving, fading away, back to flow. The AOL's are slowly dissolving, not disappearing all of a sudden.>
folliage, green, high, mountain, stones, promontory
AOL 2= a stone promontory
Now, the moment when I realize I have done this target before, I have the feeling that I did this target before and I failed it the first time too.
I still have a low resolution image of that first session and you'll see the "promontory" with a manmade structure on top of it and some "trees" here and there. The problem was that I took the enigma Machine as being a sort of castle or fortress on a high land mass. The "tress" were the buttons and the high terrain was in fact the pedestal on which the machine was placed inside the museum.
<I feel again my intent going left from TASK to AOL. A shifting. >
<I imagine that I am shifting back my flow towards the task>
I make another ideogram which of course is a structure:
S2: squared, angled, [definition, wizard, Otello, Vermont], structure, open, raised, hollow.
For your information, there is a museum in Vermont where the Enigma machine is displayed and also there is this team. father and son that are specialized in restoring old enigma machines, as it is written on their website: "Dan Perera does most of the restoration work on enigma machines in Vermont, storing the devices at an off-property site."
I have AOL: basilica, Europe and I draw again a cubic building
<Whatever comes to you, you must cherish>
<Now I felt my subconcious had a better grasp of the site and we can move on to S3>
S3
I had the insight that if I place the tip of my pen on some part of the sketch and I start vibrating it, I can feel through the tip some other details of the structure, simply because of the way the vibrations would move through it.
I got: corners, edge, angled, water, Colosseum, stone, war, fresh, water.
Well, the Enigma machine was aboard the german submarines, there was war, plenty of water, and the Colosseum could be filled with water and naval battles were replayed for the audience.
<Now I feel like I am on the right track and somehow I am not>
<I feel more relaxed and cool in my head >
And now for the last sketch that ended the session:
The original target was this one:
Please note that at the end of the session I was not SURE that my target was the Enigma machine again but I started to suspect it and so I chose to write down and describe this suspicion too, as an AOL.
Well, I hope my experience will bring a bit of extra information on what happens during remote viewing session and how we could become aware of our mind's inner workings while doing a session.
Thanks for your time, reading this article.