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COORDINATE REMOTE VIEWING
STAGE 1
A. Concept:
Any given site has an overall nature or "gestalt,"
as it is referred to below, that makes it uniquely what it
is. In Stage I, the remote viewer is taught to acquire the
signal line, attune himself to it, and proceed to decode and
objectify this site getalt and the major pieces of information
that pertain to it. A properly executed Stage I is the very
foundation of everything that follows after it, and it is
therefore of utmost importance to maintain correct structure
and achieve an accurate Stage I concept of the site. All CRV
sessions begin with Stage I.
B. Definitions:
1. Major Gestalt: The overall impression presented by all
elements of the site taken for their composite interactive
meaning. The one concept that more than all others would be
the best description of the site.
2. Ideogram: The "I" component of the I/A/B sequence.
The ideogram is the spontaneous graphic representation of
the major gestalt, manifested by the motion of the viewer's
pen on paper, which motion is produced by the impingement
of the signal line on the autonomic nervous system and the
reflexive transmission of the resultant nervous energy to
the muscles of the viewer's hand and arm. The objectified
ideogram has no "scale;" that is, the size of the
ideogram relative to the paper seems to have no relevance
to the actual size of any component at the site.
3. "A" Component: The "feeling/motion"
component of the ideogram. The "feeling/motion"
is essentially the impression of the physical consistency
(hard, soft, solid, fluid, gaseous, etc.) and contour/shape/motion
of the site. For example, the monitor has selected, unknown
to the viewer, a mountain as the trainee's site. At the iteration
of the coordinate, the trainee produces an appropriate ideogram,
and responds verbally, at the same time as he writes it: "Rising
up, peak, down." This is the "motion" sensation
he experienced as his pen produced the ideogram. He then says
"solid," having experienced the site as being solid
as opposed to fluid or airy. This is the "feeling"
component of the Stage 1 process. There are at least five
possible types of feelings: solidity, liquidity, energetic,
airiness (that is, where there is more air space than anything
else, such as some suspension bridges might manifest), and
temperature. Other feeling descriptors are possible, but encountered
only in rare circumstances and connected with unusual sites.
These components and how they are expressed in structure will
be discussed more fully below. Though in discussions of theory
this aspect is usually address as "feeling/motion,"
it will normally be the case in actual session work that the
motion aspect is decoded first with the feeling portion coming
second.
4. "B" Component: The first (spontaneous) analytic
response to the ideogram and "A" component.
C. Site Requirements:
For training in Stage I, a stage-specific site is selected.
Basic Stage I coordinate remote viewing sites generally comprise
an area isolated by some five miles on a side and possess
easily identifiable major gestalts that may be easily decoded
in simple Stage I sessions. All sites have Stage I gestalts,
but for training Stage I perceptions these "simple"
sites are selected.
D. Types of Ideograms:
There are four types of ideograms:
1. Single: One unbroken mark or line, containing only one
"A" component (feeling/motion) and one "B"
component.
2. Double: Two basically parallel marks or lines. Produces
usually at least three sets of "A" and "B"
components: one for the area between the marks, and one each
for the areas on either side of the marks. Two other "A"
and "B" components may be present as well, one for
each of the marks. Railroad tracks, roads, canals, etc. may
produce this type of ideogram.
3. Multiple: Two or more different marks, each producing
its own set or sets of "A" and "B" components.
Such an ideogram may be obtained when there is more than one
major gestalt present at a given site--such as a lake, city
and mountain--all within the area designated by the coordinate.
This type of ideogram may occasion the necessity of taking
a "Too Much Break" because of the volume of information
contained in more than one major gestalt. Caution must be
exercised here, since a single mark may actually represent
either a double or multiple ideogram, but may be mistaken
for a single ideogram. To ascertain this, the signal line
must be prompted by placing the pen on the mark and also to
either side to determine if more than one "A" and
"B" component is also present.
4. Composite: "Pen leaves paper more than twice, makes
identical marks," and produces one set of "A"
and "B" components. Things such as orchards, antenna
fields, etc., with numbers of identical components produce
this type of ideogram.
E. Vertical/Horizontal Ideogram Orientation:
Ideograms may be encountered (objectified) either parallel
with the plane of the horizon (horizontal) or perpendicular
to it (vertical). For example, the Gobi desert being predominantly
flat, wave sand, would produce a motion portion of the Stage
I "A" indicating a horizontal ideogram. The Empire
State Building, however, would produce some sort of vertical
response such as "up, angle," in the motion portion
of the "A," indicating a vertical ideogram. However,
a crucial point to remember is the objectification of the
ideogram is completely independent either of what it looks
like or its orientation on paper. It is imperative to realize
that what determines the vertical/horizontal ideogram orientation
is not the site's inherent manifestation of the physical world,
and not how or what direction it is executed on the paper,
or even the RVer's "point of view," since in Stage
I there is no viewer site orientation in the dimensional plane.
Simply observing how the ideogram looks on paper will not
give reliable clues as to what the orientation of the ideogram
might be. The ideogram objectified as "across, flat,
wavy" for the Gobi Desert might on the paper be an up
and down mark. The ideogram for the Empire State Building
could possibly be represented as oriented across the paper.
It is obvious then that ideograms can not be interpreted
by what they "look like," but by the feeling/motion
component produced immediately following the ideogram. The
viewer must learn to sense the orientation of an ideogram
as he executes it. If unsuccessful on the first attempt, the
ideogram may be "re-prompted" by moving the pen
along it at the same tempo as it was produced, with the viewer
being alert to accurately obtain the missing information.
F. I/A/B/ Formation:
As the monitor gives the prompting information (coordinate,
etc.) the viewer writes it down on the left side of the paper,
then immediately afterwards places his pen on the paper again
to execute the ideogram ("I"). This presents itself
as a spontaneous mark produced on the paper by the motion
of hand and pen. Immediately upon execution of the ideogram,
the viewer then moves his pen to the right third of the paper
where he writes "A" and describes briefly the feeling/motion
characteristics of the site as it is manifest in the ideogram,
for example, "A Across angle up angle across angle down,
solid."
Upon correctly decoding the feeling/motion component, the
viewer then moves his pen to a position below the recorded
feeling/motion responses and directly under the "A,"
then writes "B." He then records the appropriate
"B" component response, which will be the first
instantaneous analytic response following the ideogram and
feeling/motion components to the signal line's impingement
on his system. Sample responses may be "mountain,"
"water," "structure," "land,"
"ice," "city," "sand," "swamp,"
etc.
G. Phases I and II:
Stage I training is divided into two phases, determined by
the number and types of major gestalts produced by the site
used. For example, mountain, city, or water. Phase II includes
sites with more than one major gestalt, and therefore some
sort of identifiable interface: a beach on an ocean, an island,
a city by a river, or a mountain with a lake.
H. Drills:
Most viewers tend to establish well-worn patterns in executing
ideograms on paper. If such habits become established enough,
they can actually inhibit proper handling of the signal line
by restricting ease and flexibility in proper ideogram production.
In order to counter this tendency, training drills may occasionally
be conducted. These drills use paper with a larger number
of rectangles, outlined in black, of different sizes, proportions,
and orientations (i.e., with the long sides paralleling in
some cases the top of the paper and other cases paralleling
the sides of the paper). As he comes to each of these rectangles
on the paper in turn, the viewer is directed to execute an
ideogram for a given site (i.e., "mountain," "lake,"
"city," "canyon," "orchard,"
"island," "mountain by a lake with a city,"
"waterfall," "volcano," etc.) with his
pen inside the rectangle, extending the ideogram as appropriate
from one side of the rectangle to another without passing
outside the rectangle. Each time the directions may vary--the
ideogram will have to be executed from top to bottom, right
to left, left to right, bottom to top, diagonally, etc. In
the case of ideograms that do not have a directional emphasis,
such as one formed by a circle, a grouping of dots, etc.,
the ideogram must fill the area of the rectangle without going
outside it. The ideogram must be executed as rapidly as possible,
without any hesitation or time taken to think. The purpose
of this exercise is obviously to encourage spontaneity and
increase facility with pen on paper; though it is unlikely
that real signal line connection occurs, the ideograms created
by the near-totally reflexive actions involved in the drill
approach actual archetypal ideogrammatic styles.
I. Format:
All sessions are begun by writing the viewer's name and
the date/time group of the session in the upper right hand
corner of the paper, together with any other session-relevant
information deemed necessary by the monitor. As stated above,
the coordinate or other prompting information is written in
the left third of the paper, the ideogram approximately in
the middle third (though because of the spontaneous nature
of the ideogram, it may sometimes be executed much closer
to the prompting data, sometimes even being connected to it),
and the "A" and "B" components in the
right third. AOL and other breaks are declared near the right
edge of the paper. This format constitutes the structure of
Stage I and when properly executed, objectifies ("gives
reality" to) the signal line. Following is a sample Stage
I format:
(FORMAT FOR STAGE I)
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Name
Date
Time
(Personal Inclemencies/Advance Visuals Declared)
(Coordinate) (Ideogram) A Across angle up angle angle across
angle down
Solid
B Structure
AOL Break
Sports Stadium
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