Remote Viewing Class 2: Protocol & Stage 1

Instructor: Rainsong & Wayfarer
Date: March 17, 2017 (Friday)

Note: This class was conducted in the Order of the Golden Pyramid community’s chatroom

Hi, all. RV class will be the lecture room in about half an hour

Dr. Strange Stuff
😀 I look forward to it, thank you so much for teaching this!

Three minutes to RV class (text format in lecture room)
Alrighty then…
Good evening, ladies and gentlemen.
Welcome to this evening’s seminar on remote viewing.
This is the second in a series. You’re welcome to stay even if you didn’t attend the first one, but there will be bits that might not make much sense.
*bows to Wayfarer* My ‘partner in crime’ over there will be instructing also, as with last time.
Please hold any questions or comments until we pause and ask for such. Otherwise, this may get a little too chaotic. (Which is all well and good for the Chaotes, I suppose, but rather less so for the rest of us.)

I’m here, incidentally, and I’ll just be adding small comments and trying not to write paragraphs.

As we described last time, ‘remote viewing’ is the gathering of data by “psychic” means *within the confines of certain sets of protocols*…
Unlike last time, when we were going over basic vocabulary and a smattering of history, we’ll be getting into the theory and practice of it tonight.
First of all, there is the question of equipment. Usually, RV data is recorded on plain white paper of letter or A4 size with a black pen that runs smoothly.
(It’s not always done in written format, but when it is, it’s black ink on white paper)
We’re working with human consciousness here, so sometimes weird details take on unusual amounts of importance. And this combination seems to tell the mind that “yep, we’re getting down to some serious work here.”
It also really helps to settle your mind down, before you start.
Ideally, you should be in a room free of distractions and reflective surfaces…practically, that’s not always possible.
I recommend not attempting a session while perched on top of a ladder in the midst of hanging up party decorations in the cafeteria of a government installation…
Or a school…
Or anywhere else with heavily populated cafeterias.
Wayfarer is good enough at it that he could probably get away with this. 😀
Any questions about basic equipment and setting?
I don’t see any indication that anyone is typing, so I’ll take that as a “no.”
Our main focus for the evening will be Stage 1 of the CRV protocols, and, therefore, ideograms.

I have some problems with populated places, you have to be able to discern signal from noise and that becomes harder the more distractions there are. It’s also important to limit the amount of light within your line of sight. That’s not to say the room should be dark. It should not.
However, you don’t want to be staring directly at a light source.

And tinsel is shiny
(That wasn’t a hypothetical example, and no, it did not go well)

It’s very distracting if you have a light source in front of you and can inhibit the generation of spontaneous sensory data from the signal, which is not ideal.

Very true. Good point.
Any other bits you’d like to add on that?

Perched on a ladder would be very bad protocol generally. Can’t write down information and it’s a dumb time for the monitor to deliver the target.

I could write, but the very act of writing was distracting, because of the wobbliness. Tables are your friends.

Which strikes me to add: generally, a comfortable position is preferred. Sitting stably at a table is the standard. Doing otherwise is fine. There are some other considerations that I assume will come up shortly but mostly sit in a balanced natural way where you can address pen to paper uninhibited.

I’m actually going to skip over the tasking and monitoring for the moment, except to say that the standard protocols require a person to serve monitor for the viewer. There are some derivative protocols that are done unmonitored. We’ll be coming back to that later.
The ‘viewer’ is the person doing the psychic stuff.

I can address the role of tasker and monitor later on in a bit more detail.

When the monitor provides the target coordinates to the viewer (or when the coordinates are provided by other means…as I said, we’ll be coming back to this…), the viewer immediately puts pen to paper to produce what is called an “ideogram”.
This is a squiggle, for lack of a better word, that both indicates you’ve made psychical contact with the target you’re after and could be described as a mental “thumbnail” or “icon” that contains the psychic data you’ll be “unpacking.”
It does not *look like* the target, though.
One of the reasons that it is important that you can address pen to paper uninhibited is that this squiggle is drawn with the whole of the arm…like a calligrapher writes.
There appear to be two approaches to ideograms in formal CRV protocol:
One is to do a lengthy series of RV sessions and observe the correlations between squiggle shapes and the basic concept of the targets – in the cases of successful sessions, that is – thus accumulating a personal library of ideograms.
The other is to use an already established library of ideograms that are “drilled” for an equally lengthy practice period.
Either way, the ideogram is drawn/written/scribbled *immediately* without thinking about it.
If you’re thinking about what it should look like, or where it should be or whether it’s good enough – or anything at all – you’re doing it wrong.

And doing it wrong here is a significant “wrong” because the ideogram is the first representation of contact with the *gestalt*.
A bad contact in stage one means there is no further contact with the site. Everything from there on is wrong, even if it’s right.

Yep, the rest of it might as well be Death Note fanfiction, for all the good it will do.
Are there any questions or comments about ideograms at this point?

Dr. Strange Stuff
Ideograms are just different squiggles?

They are squiggles. They are very important squiggles, though.

Dr. Strange Stuff
And squiggles that have meaning?

It might look like an upside-down L attached to a series of scrawled cursive-Cyrillic T’s, for example… and in most cases that would indicate that the basic target involved a manmade structure and water.

Ideograms have meaning, that is. . . well, break the word down.
An ideogram has meaning to the viewer.
It is either trained or broken down from analyzing the viewer’s sessions.
An ideogram represents a gestalt, or general feeling and impression of a site.
Ideograms have meaning but the meanings are not analyzed.
For example, you may have an ideogram that represents rising sensations if that’s the general gestalt, or an ideogram that represents organic matter, or an ideogram that represents industrial buildings, or whatever it is.
But the main point of the ideogram is not to get that information, it’s to create an open conduit for the signal.
The usual formula is IAB, which is Ideogram, feeling/motion, and automatic analytical response.
I think we maybe are getting ahead of ourselves with that though.
Ideograms come in four types, and are all about the feeling and motion of a site and never about the visual appearance of a site. You don’t want to see something in the squiggle – it’s about the feeling while drawing the squiggle, the feeling of the squiggle.

Dr. Strange Stuff

The four types are single, double, composite, and multiple, and refer to the type of diagram.
Because I have it handy, standby.

(From the 1985 working paper)

Dr. Strange Stuff
Okay, and those are more than one incident of pencil to paper then? I was under the impression the squiggle was drawn without looking down at the paper.

Those are example ideograms, not from a session. They are just images of different kinds of ideograms.
The first is a single, the second a double, the third a composite, and the fourth a multiple. The first would be representative of, for example, rapid rising and falling (up sharp down), the second, flowing, etc.
It’s not a visual representation but a general gestalt feeling representation.
The fourth example is actually really bad because it resembles a sketch of a site and not a feeling, it’s a Bad Example.

You can look at the paper or not. Doesn’t matter much, as long as you’re not going to ruin the table underneath by going too far off the edge.

Yeah, not looking at the paper would be standard of the automatic writing approach which is more or less the goal.
The danger when looking at the paper is trying to make visually accurate sketches.

Put a larger paper or blotter under your stack of papers, if you tend to make really big ideograms, or fear you might.
Because, again, you don’t want to be distracted by logistics…
Or analysis.

Dr. Strange Stuff
Oh, okay, yea, that makes sense.

Wayfarer: It looks like we’re only going to get about halfway through the planned curriculum for the evening. Do you want to talk a bit about monitors and taskers?
(The 9pm ritual has been postponed until half-past to give us some “breathing room”)

Sure, is that what we’re onto now?

I think so, unless my roundabout approach might be too confusing?
Or we could pause here, and resume next time…
Actually, let’s do that.
Are there any questions or comments before we wrap up this session?

The squiggle is drawn with the whole arm, like how a calligrapher writes
How does a calligrapher write?

With the whole arm.
From the shoulder instead of from the wrist, basically.
Note that while that is how it’s supposed to be done, I usually do not do it that way. I also am not good generally with ideograms and use the coordinates instead of the ideogram when recalling the target.

Dr. Strange Stuff
You move your elbow while writing in calligraphy.

With calligraphy? Or normally?

With the exception of the Textura scripts (and really, even some of them), the arm is moved at least as far as the elbow, and usually clear to the shoulder, when using a pen or brush for calligraphy. Just using the fingers cramps the letters as well as the muscles, except for when doing the very smallest of letters.

I work in medicine and am not particularly well renowned for my by-the-book manuscript, haha.

Writing and drawing with the fingers alone is less fluid, and so more likely to distort or otherwise mess up the making of an ideogram. Obviously, it can be done that way, however.

Thank you for elaboration ^^

You’re welcome, of course. That’s the whole point of a seminar. 😀
Any other questions or comments?

The person who tried to “teach” me art was super picky about the way I hold pencils. He taught several methods, none of them useful. I know more than one way to hold a pencil in a way that moves the whole arm. Which one do I use.
Good to know that it’s not 100% rigid protocol for remote viewing.

Your having messed around with pencil positions will probably be helpful. The military guys in the States were required to study the methods of drawing from the book “Drawing on the Right Side of the Brain.”
(Yes, I know, the connection isn’t all that obvious.)
Art training of any kind also is supposed to be useful.

Science IS art.

Thank you all for participating…
And thank you, Wayfarer, for co-teaching with me.
Mari’s Mage has a ritual starting in five minutes, so we ought to table this until our next RV class.

Thank you for lecture.

You’re welcome. 😀

Dr. Strange Stuff
Thanks for the lecture again. It was great.

Yeah, the right protocol is one that works. Sorry for mentioning that late. That there is a protocol is important but the protocol is not so specific as to tell you how to hold a pen.

Thanks for the lecture.

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