COORDINATE REMOTE VIEWING
STAGE 3
A. Concept:
As Stage II progresses the aperture opens dramatically wider
than was the case with either Stage I or early Stage II. Dimensionals
begin to emerge and the threshold is reached for the transition
into Stage III. The shift into full Stage III is triggered
by aesthetic impact (see below). It is after this point that
the true dimensionality of the site may begin to be expressed.
This differs from dimensional elements encountered previously,
in that Stage II dimensionals are individual aspects of the
site, while Stage III dimensionality is a composite of inherent
site aspects. The concept of "the viewer's perspective"
must, however, be avoided because in Stage III the viewer
has not yet reached the point where complete comprehension
and appreciation of the size, shape, and dimensional composition
of the overall site can be ascertained. Generally, the viewer
himself is not precisely aware of his own perceptual relationship
to the site and therefore not consciously aware of the true
relationship of all the dimensional components he is able
to debrief from Stage III. As is discussed in various sections
below, he must rely on the various tools available in Stage
III to obtain and organize the increased information he is
perceiving. Although Stage III can provide a great deal of
information about any given site, the goal of Stage III is
command of structure.
B. Definitions:
1. Aesthetic: Sensitivity of response to given site.
2. Drawing: The act of representing something by line, etc.
3. Idea: Mental conception; a vague impression; a hazy perception;
a model or archetype.
4. Impact: A striking together; changes, moods, emotions,
sometimes very gross, but may be very weak or very subtle.
5. Mobility: The state or quality of being mobile.
6. Motion: The act or process of moving.
7. Perceptible: That which can be grasped mentally through
the senses.
8. Prompt: To incite to move or to action; move or inspire
by suggestion.
9. Rendering: Version; translation (often highly detailed).
10. Sketch: To draw the general outline without much detail;
to describe the principle points (idea) of.
11. To Track: To trace by means of vestiges, evidence, etc.;
to follow with a line.
12. Vision: One of the faculties of the sensorum, connected
to the visual senses out of which the brain constructs an
image.
C. Site Requirements:
A site selected for Stage III would logically require significant
dimensional components. Locales such as bridges, monuments,
airports, unusual natural formations, etc. are useful Stage
III sites.
D. The Six Primary Dimensionals:
1. Diagonal: Something that extends between two or more
other things; a line connecting two points of intersection
of two lines of a figure.
2. Horizontal: Parallel to the plane of the horizon.
3. Mass: Extent of whatever forms a body--usually matter.
4. Space: Distance interval or area between or within things.
"Empty distance."
5. Vertical: Perpendicular to the plane of the horizon;
highest point/lowest point (i.e., height or depth).
6. Volume: A quantity; bulk; mass; or amount.
E. Aesthetic Impact:
As the aperture widens rapidly from Stage II, a virtual
avalanche of site information begins to impact on the viewer's
unconscious. The cumulative effect of all this detail is to
trigger a subjective response from the viewer. This opening
of the aperture and subsequent subjective response is called
Aesthetic Impact (AI) and is the viewer's subjective emotional
response to the site. It is best described as "how the
site makes the viewer feel." AI may immediately follow
two Stage II dimensional responses, but it will certainly
follow three or more. It may be experienced and expressed
in a variety of ways. A simple exclamation of "Wow!"
may be the AI response when one is suddenly impressed by the
immensity of some natural formation, such as the Grand Canyon
or Yosemite's Half Dome. On the other hand, such a site might
just as easily spark a feeling of vertigo or fear of falling,
or cause one to remark, ":This is really tall (or deep)!".
A pulp mill might trigger an AI reaction of revulsion because
of the nauseating smells. Or a comprehension of the grandeur
or squalor of a site might cause one to have a sudden appreciate
of beauty or ugliness. Other examples of AI might be claustrophobia,
loneliness, fright, pleasantness, relaxation, enjoyment, etc.
AI need not be pronounced to be present; in fact, it may
often be quite subtle and difficult to recognize. It may sometimes
be a sudden, mild cognitive recognition of the abrupt change
in perspective, or a slight surprise or alteration of attitude
about the site. Some viewers who in the past have had little
experience with direct contact with their emotions may have
difficulty recognizing that they experience AI, and may even
be convinced it doesn't happen to them. Such individuals must
exercise a great deal of caution not to sublimate or suppress
AI recognition, and require additional exposure to AI to help
them learn to recognize and declare it appropriately.
The monitor also has a role to play in helping the viewer
to recognize AI. Body language, eye movement, and specific
speech patterns can all be cues to the experienced monitor
that AI is present. The monitor must draw the viewer's attention
to the existence of an undeclared AI when he observes the
"symptoms" of an AI unrecognized by the viewer.
It is extremely important to properly recognize and declare
(objectify) AI, since how one deals with it can determine
the entire course of the session from that point on. The viewer
may not work through AI. Aesthetic Impact must be recognized,
declared, and allowed to thoroughly dissipate. Should the
viewer err and attempt to work through AI, all information
from that point on will be colored by the subjective filter
of the emotional experience encountered, and AOL Drive and
AOL "Peacocking" (discussed under AOL, below) can
be expected to arise.
AI is dealt with in the following manner. Moving through
Stage II, the viewer begins to debrief a cluster of two or
more basic dimensionals. He suddenly realizes that the aperture
is expanding, and that in conjunction he is having a subjective
emotional reaction to the site--whether pronounced or mild.
He then states aloud as he objectifies on his paper "AI
Break." He then briefly says aloud and writes on the
paper what the AI is. Declarations can be everything from
a simple "Wow!" to "Disgusting!" to "I
like this place" to "Vertigo" to "I feel
sick" to "This is boring" to "I'm impressed
by how tall this is" to "Absolutely massive!".
The viewer by taking this "AI Break" effectively
disengages himself temporarily from the signal line and allows
the emotional response to dissipate. The time required for
this can vary from a few brief seconds for a mild AI to hours
for one that is especially emphatic.
It is important to note that, though many sites elicit essentially
the same response in every individual who remote views it,
each person is different than every other and therefore under
certain circumstances and with certain sites AI responses
may differ significantly from viewer to viewer. One example
of this that has frequently been related is a small sandy
spit off of Cape Cod, Massachusetts. One viewer, a highly
gregarious woman who enjoys social interactions, when given
the site responded that it made her feel bleak, lonesome,
depressed, abandoned. On the other hand, a viewer who had
spent a great deal of his time in nature and away from large
numbers of other humans experienced the site as beautiful
and refreshing. Since AI is subjective, such variations are
not unexpected, and under the right circumstances [are] usually
appropriate.
F. Motion/Mobility:
Two variations of the concept of movement are recognized
as being available to the viewer during Stage III. The first
is the idea of motion at the site: an object or objects at
the site may be observed as they shift position or are displaced
from one location to another. For example, there may be automobile
traffic present, a train moving through the area, or whirling
or reciprocating machinery, etc.
"Mobility," the second movement concept, is the
ability possessed by the viewer in Stage III to shift his
viewpoint to some extent from point to point about the site,
and from one perspective to another, i.e., further back, closer
up, from above, or below, etc. This ability makes possible
the projection of trackers and sketches as described below.
An additional feature this introduces is the ability to shift
focus of awareness from one site to another using a polar
coordinate concept. This is more fully explained under Movement/Movement
Exercises, which follows.
G. Dimensional Expression on Paper:
1. Sketches:
a. Spontaneous sketches: With the expansion of the aperture
and after dissipation of AI, the viewer is prepared to make
representations of the site dimensional aspects with pen on
paper. A sketch is a rapidly executed general idea of the
site. In some cases it may be high representational of the
actual physical appearance of the site, yet in other cases
only portions of the site appear. The observed accuracy or
aesthetic qualities of a sketch are not particularly important.
The main function of the sketch is to stimulate further intimate
contact with the signal line while continuing to aid in the
suppression of the viewer's subjective analytic mental functionings.
Sketches are distinguished from drawings by the convention
that drawings are more deliberate, detailed representations
and are therefore subject to far greater analytic (and therefore
AOL-producing) interpretation in their execution.
b. Analytic Sketches: Analytic sketches are produced using
a very carefully controlled analytic process usually employed
only when a satisfactory spontaneous sketch as described above
is not successfully obtained. An analytic sketch is obtained
by first listing all dimensional responses obtained in the
session, including those contained in the "A" components
of the various Coordinate/I/A/B prompting sequences, in the
order and frequency they manifest themselves on the session
transcript. Each of these dimensional elements apparently
manifests itself in order of its importance to the gestalt
of which it is a part. So, for example, if in the first "A"
component of the session one encounters "across, rising,"
thee two would head the list, and their approximate placement
on the paper will be determined by the viewer before any other.
A second list is then compiled, listing all secondary attributes
of the site. Finally, a list may be made if desired of any
significant "details" that do not fit into the previous
two categories.
In analytic sketching the intuitive part of the viewer's
apparatus is not shut off. He must continue to attempt to
"feel" the proper placement of the dimensional elements
of the site. In fact, the purpose of this approach to sketching
is to "re-ignite" the viewer's intuition. As each
element on the primary list is taken in order, the viewer
must "feel" the proper position for that element
in relation to the others. If the dimensional element "round"
is listed, it must be determined how a rounded element fits
in with "across," "rising," "flat,"
"wide," "long," and any other dimensional
elements that may have preceded it. When elements from the
primary list are exhausted, the viewer may duplicate the process
with those from the secondary list. If necessary and desirable,
the viewer may proceed to the details list and assign them
their appropriate locations.
2. Trackers: Stage III contact with the site may on occasion
produce an effect known as a tracker. This is executed by
a series of closely spaced dots or dashed lines made by pen
on paper, and describes a contour, profile, or other dimensional
aspect of the site. Trackers are formed in a relatively slow
and methodical manner. The viewer holds pen in hand, lifting
it off the paper between each mark made, thereby allowing
the autonomic nervous system, through which the signal line
is being channeled, to determine the placement of each successive
mark. While constructing a tracker, it is possible for the
viewer to spontaneously change from executive the tracker
to executing a sketch, and back again.
3. Spontaneous Ideograms: At any point in the sketch/tracker
process, an ideogram may spontaneously occur. This most probably
relates to a sub-gestalt of the site, and should be treated
like any other ideogram. It will produce "A" and
"B" components, Stage IIs, and so forth. Because
of the possibility for the occurrence of these spontaneous
ideograms with their potential for conveying additional important
site information, viewers are strongly counseled to always
keep their pen on paper to the greatest extent practical.
H. Movement/Movement Exercises:
An outgrowth of the viewer mobility concept involves the
ability of the viewer to shift his focus from one site to
other sites using a polar coordinate concept. This is often
termed a "movement" or "movement exercise,"
and is executed thusly. The viewer is given the coordinates
for the base site, and the session proceeds as normal: I/A/B,
Stage IIs, dimensionals, AI to Stage III sketches/trackers.
When the monitor is confident that the viewer has successfully
locked onto this primary site, he tells the viewer to "prepare
for movement." The viewer accordingly places his pen
on the left side of the paper, indicating he is ready for
a new prompting coordinate as per convention. The monitor
then tells the viewer to acquire the central site. The viewer
responds with a very brief, few-word description of the base
site, whereupon the monitor gives a prompting statement in
lieu of the usual geographic coordinate. This statement includes
a distance and direction from the base site, and is couched
in words as neutral, passive and non-suggestive (therefore
less AOL-inducing) as possible.
By way of example, let us assume that the base site is a
large grey structure, and the secondary site to which the
viewer's focus is to be moved is 8 1/2 miles northwest of
the base site. The monitor will say "Acquire the site,"
to which the viewer responds approximately, "A large
grey structure." The monitor then says "8 1/2 miles
(to the) northwest something should be visible." Just
as he would a geographic coordinate, the viewer objectifies
this phrase by writing it down, places his pen on the paper
to receive the ideogram, and progresses from there just as
if he were processing any other new site.
Note, however, the very neutral way the monitor provided
the prompting. He avoided such leading words as, "What
do you see 8 1/2 miles northwest?" or "You should
be able to see (hear/feel/smell) something 8 1/2 miles northwest."
Observe also that "motion words" ("move,"
"shift," "go," etc.) were also avoided.
Words and phraseology of either type tends to cause the viewer
to take an active role, directly attempting to perceive the
site instead of letting the signal line bring the information
to him. This sort of active involvement greatly encourages
the development of AOL and other mental noise effects.
Instead, the passive wording used by the monitor stimulates
the analytic component of the mind as little as possible,
allowing uncontaminated signal line data to be received. Examples
of acceptable passively framed words relating to sensory involvement
are: "should be visible," "hearable,"
"smellable," "feelable," "tasteable,"
etc. In earlier stages sensory-based wording would have been
avoided as a catalyst to AOL. With the widened aperture in
Stage III, however it may be used successfully.
This movement technique may be used any number of times,
starting either from the original base site, or from one of
the other subsequent sites to which the viewer's perception
has been "moved."
I. Analytic Overlay (AOL) in Stage III:
1. AOL Matching: With the expansion in aperture inherent in
Stage III, and after appropriate AI, the AOL phenomenon develops
to where a viewer's AOL may match or nearly match the actual
signal line impression of the site. For example, if the site
were Westminster Abbey, the viewer might produce the AOL of
Notre Dame cathedral. Or he might even actually get an image
of Westminster Abbey that nevertheless fills all the criteria
for an AOL. According to theory, the matching AOL is superimposed
over the true signal line. It is however possible with practice
to distinguish the vague parameters of the true signal line
"behind" the bright, distinct, but somewhat translucent
image of the AOL. The viewer must become proficient at "seeing
through" the AOL to the signal line. Use of "seeing
through" here must not be taken to imply any visual image
in the accepted sense of the word, but rather as a metaphor
best describing the perceptory effect that manifests itself.
2. AOL Drive: Although mentioned before, AOL Drive becomes
a serious concern beginning in Stage III. It occurs when the
viewer's system is caught up in an AOL to the extent that
the viewer at least temporarily believes he is on the signal
line, even though he is not. When two or more similar AOLs
are observed in close proximity, AOL drive should be suspected.
AOL drive is indicated by one or more of the following: repeating
signals; signal line ending in blackness; peculiar (for that
particular viewer) participation in the signal line; and/or
peacocking. Causes for AOL drive include accepting a false
"B" component in Stage I; or accepting a false sketch
or undeclared AOL in Stage III. Undeclared AOLs can spawn
AOL drive in all other stages beyond Stage III as well. Once
it is realized that AOL drive is present, the viewer should
take an "AOL/D Break" (as discussed under STRUCTURE),
then review his data to determine at what point he accepted
the AOL as legitimate data. After a sufficient break the viewer
should resume the session with the data obtained before the
AOL drive began. Listed below are two subspecies of AOL drive.
a. Ratcheting: The recurrence of the same AOL over and over
again as if trapped in a feedback loop.
b. AOL "Peacocking": The rapid unfolding, one
right after another, of a series of brilliant AOLs, each building
from one before, analogous to the unfolding of a peacock's
tail.
J. Format:
Following is a sample Stage III format:
(FORMAT FOR STAGE III)
--------------------------------------------------------------------------------
Name
Date
Time
(Personal Inclemencies/Visuals Declared)
(STAGE I -
Coordinate) (Ideogram) A Rising
Angles Across
Downs
Solid
B Structures
(STAGE II -
Sensory Data) S2 grey
white
rough
gritty texture
noisy
mixture of sounds
warm
moist
smell of fumes
unclean smell
hazy
tall (beginning of
dimensionals leading to AI
and Stage III
sketching/tracking)
wide
long
huge
AI BREAK
Wow! I'm dizzy!
(Stage III) (SKETCH OR TRACKER)
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