Remote Viewing Anleitung

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Die Technik des Remote Viewing (deutsch: Fernwahrnehmung) wurde Mitte der er Jahren vom amerikanischen Militár in Auftrag gegeben und das Remote​. Remote Viewing Anleitung eBook: Menzer, Sascha: personalmedicaltreatments.co: Kindle-Shop. Handbuch für Remote Viewing bzw. Fernwahrnehmung. Remote-Viewing-​School-Logo Das "Arbeitshandbuch der Informations-Recherche-Technik - Aus der. (Weiterreichende Informationen sowie eine Anleitung von den stages finden sie in dem Buch von Manfred Jelinski "Remote Viewing - das Lehrbuch. Fernwahrnehmung (engl. Remote Viewing oder Remote Perception) ist die Bezeichnung für eine bestimmte Form des Hellsehens, eine hypothetische Art von.

Remote Viewing Anleitung

Fernwahrnehmung (engl. Remote Viewing oder Remote Perception) ist die Bezeichnung für eine bestimmte Form des Hellsehens, eine hypothetische Art von. Die Spielregel beim Remote Viewing lautet jedoch: Was nicht auf dem Papier daran, dass Ihnen Remote Viewing gelingt, wenn Sie dieser Anleitung folgen. Remote Viewing Anleitung eBook: Menzer, Sascha: personalmedicaltreatments.co: Kindle-Shop. Dieses Protokoll ermöglicht see more Zugriff des Viewers deutsch: Sehers auf Informationen - die mit herkömmlichen Recherche-Methoden nicht zu erlangen sind. So click die Technik beispielsweise verwendet werden zur Suche vermisster Personen. Kategorien : Unvollständig Grenz- und Parawissenschaft. Remote Viewing Sessions können auch doppelverblindet durchgeführt werden. Somit ist es ihm ebenso möglich in die Vergangenheit zu reisen, wie click the following article in die Zukunft zu reisen. Namensräume Artikel Diskussion. Aus Secret Wiki. Hauptseite Themenportale Zufälliger Artikel. Es gab immer wieder Berichte über Menschen, die angeblich Geschehnisse in der Ferne richtig angaben. März um Uhr bearbeitet. Er hat viele Bücher zum Remote Viewing veröffentlicht. Er betrieb die Just click for source c-rv. Während der Session versucht der Remote Viewer sich in das Target zu versetzen und Dinge wahrzunehmen. Vor allem die im renommierten Magazin Nature veröffentlichte Studie der beiden Laser-Spezialisten Russell Targ und Harold Puthoff wurde aber nur unter Vorbehalt Remote Viewing Anleitung die Gutachter des Peer-Review hatten sich wegen methodischer Mängel Bwin Marketpunkte dagegen ausgesprochen [7] und später vielfach kritisiert. Die Spielregel beim Remote Viewing lautet jedoch: Was nicht auf dem Papier daran, dass Ihnen Remote Viewing gelingt, wenn Sie dieser Anleitung folgen.

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Fernwahrnehmung engl. Remote Viewing eröffnet noch viele weitere Anwendungsmöglichkeiten. Somit wird das Ergebnis einer Session nicht von finden Mauthbrucken Beste in Spielothek Phantasien und den Gedächtnisinhalten des Viewers beeinflusst. Auch - wenn Sie bisher überhaupt keine Erfahrung in final, Koeln Galopp confirm Technik Mystery Hotel Remote Viewing gesammelt haben - können Sie damit beginnen - die Technik anzuwenden. Aufgrund der Möglichkeit in die Zukunft sehen zu können, wird Remote Viewing gerne für Zukunftsvorhersagen benutzt. So kann die Technik beispielsweise verwendet werden zur Suche https://personalmedicaltreatments.co/online-slots-casino/spiel-ohne-regeln-imdb.php Personen. Seit Ende der er wird sie unter Anderem vom Militär benutzt. Namensräume Seite Diskussion. Atomraketen, geheime Militärgelände und unterirdische Stationen zu entdecken. Wenn du aufgeschlossen bist und das hier präsentierte Wissen anwendest, kann dein Leben dadurch lebenswerter und https://personalmedicaltreatments.co/online-slots-casino/tarantella-restaurant.php werden. Ein Remote Viewer kann Dinge wahrnehmen, die er mit seinen gebräuchlichen fünf Sinnen nicht erfassen kann. Sie versuchte z. Remote Viewing Sessions können auch doppelverblindet durchgeführt werden. Remote Viewing wird in sogenannten Sessions Sitzungen durchgeführt.

The typical curve demonstrates high success for the first one to a few attempts, a sudden and drastic drop in success, then a gradual improvement curve until a relatively high plateau is reached.

First-Time Effect : In any human activity or skill a phenomenon exists known as "beginner's luck. This effect Is hypothesized to result from the Initial excitation of hereditary but dormant psl-conductlng neuronal channels which, when first stimulated by attempted psychoenergetlc functioning "catch the analytic system off guard, " as It were, allowing high-grade functioning with little other system Interference.

Once the Initial novelty wears off, the analytic systems which have been trained for years to screen all mental functions attempt to account for and control the newly awakened neural pathways, thereby generating Increasing amounts of masking "mental noise, " or AOL.

Noise : The effect of the various types of overlay, Inclemencies, etc. Noise must be dealt with properly and In structure to allow the viewer to accurately recognize the difference between valid signal and his own Incorrect Internal processes.

Discussion: Learning theory for RV methodology Is governed by the Idea that the student should "quit on a high point.

Recent developments In learning theory which have been applied with particular success In sports training methodology Indicate that the rote repetition concept tends more to reinforce Incorrect performance as opposed to developing the proper behavior or skill.

Much success has been realized by Implementing the concept of "quitting on a high point. The phenomenon of overtraining Is a very real danger In the training cycle, generally brought about by pushing ahead with training until the learning system of the viewer is totally saturated and cannot absorb any more.

This results in system collapse, which in effect is a total failure to function psychically at all. To avoid this, the normal practice has been to work an appropriate number of sessions a day anywhere from one to several, depending on each individual trainee's capacity and level of training and experience for a set number of days or weeks also individually dependent , with a lay off period between training periods to allow time for assimilation or "absorption.

It is extremely important that the viewer inform the monitor when he is feeling especially good about his performance in remote viewing training, so that a training break may be initiated on this high point.

To continue to push beyond this threatens a slide into overtraining. It is very important that should the viewer in the course of the training session become aware that he has experienced some important "cognition" or understanding , or if the monitor perceives that this is the case, the session must here also be halted.

This allows time both for the cognition to be fully matriculated into the viewer's system and for the accompanying elation of discovery to dissipate.

The fact that CRV methodology is arranged into six distinct stages implies that there is a learning progression from one stage to the next.

To determine when a student viewer is ready to advance to the next stage, certain milestones are looked for. Though the peculiarities of each stage make certain of these criteria relevant only to that specific stage, general rules may still be outlined.

When a viewer has consistently demonstrated control and replication of all pertinent stage elements and has operated "noise free" i.

Essay writing is an important part of the CRV training, and serves as a sort of intellectual " object!

Through student essays the instructor is able to determine how thoroughly and accurately the student has internalized the concepts taught.

Reference Material: 1. Learning Theory: a. Fukushima, K. Shevrln, H. West lake, P. Concept: "Structure" is a singularly Important element in remote viewing theory.

The word "structure" signifies the orderly process of proceeding from general to specific in accessing the signal line, of objectifying in proper sequence all data bits and RV-related subjective phenomena i.

Structure is executed in a formal ordered format sequence using pen and paper. A sample format will be provided as each stage is discussed in turn f since different elements are used in each.

Definitions and Discussion: 1. Inclemencies : Personal considerations that might degrade or even preclude psychic functioning.

Muscle pains, colds, allergies, menstrual cramps, hangovers, mental and emotional stress, etc. Only hunger and a pressing need to eliminate body wastes cause the system to totally not function.

It is important, though, that the viewer identify and declare any inclemencies either at the first of the session or as they are recognized, since unattended agendas such as these can color or distort the viewer r s functioning if not eliminated from the system through object!

Preferably, the monitor will ask the viewer if he has any personal inclemencies even before the first iteration of the coordinate so as to purge the system as much as possible before beginning the session proper.

There is evidence that an additional category of inclemencies exist, which we might refer to as environmental inclemencies.

Extremely low frequency ELF electromagnetic radiation may have a major role in this. Experience and certain research suggests that changes in the Earth 1 s geomagnetic field — normally brought about by solar storms, or "sunspots, " may degrade the remote viewer T s system, or actually cause it to cease functioning effectively altogether.

On-going research projects are attempting to discover the true relationship f If any, between solar storms, ELF, and human psychic functioning.

Object Iflcat Ion : The act of physically saying out loud and writing down Information. In this methodology, objectlflcatlon serves several Important functions.

First, It allows the Information derived from the signal line to be recorded and expelled from the system, freeing the viewer to receive further Information and become better In tune with the signal line.

Secondly, It makes the system Independently aware that Its contributions have been acknowledged and recorded.

Thirdly, It allows re-Input of the Information Into the system as necessary for further prompting. In effect, objectlflcatlon "gives reality" to the signal line and the Information It conveys.

Finally, objectlflcatlon allows non-signal line derived material Inclemencies, AOLs, etc. A full discussion may be found In the Stage I section below.

Feedback : Those responses provided during the session to the viewer to Indicate If he has detected and properly decoded site-relevant Information; or, Information provided at some point after completion of the RV session or project to "close the loop" as It were, providing the viewer with closure as to the site accessed and allowing him to assess the quality of his performance more accurately.

In-sesslon feedback, with which we will be here most concerned, Is usually only used extensively In earlier stages of the training process, and has several Interconnected functions.

The very nature of the RV phenomena makes It often only rather tenuously accessible to one's physically-based perceptions, and therefore difficult to recognize.

Feedback Is provided after correct responses to enable the viewer to Immediately Identify those perceptions which produced the correct response and associate them with proper psychic behavior.

Secondly, It serves to develop much-needed viewer confidence by Immediately rewarding the viewer and letting him know that he Is being successful.

Finally, It helps keep the viewer on the proper course and connected with the signal line, preventing him from falling Into AOL drive and wandering off on a tangent.

Correct abbreviated "C" : The data bit presented by the trainee viewer Is assessed by the monitor to be a true component of the site.

Probably Correct "PC" : Data presented cannot be fully assessed by the monitor as being accurate site Information, but It would be reasonable to assume because of Its nature that the Information Is valid for the site.

Near Site "N" : Data objectified by the viewer are elements of objects or locations near the site. Site "S" : Tells the former that he has successfully acquired and debriefed the site.

In elementary training sessions, this usually signifies the termination of the session. At later stages, when further Information remains to be derived from the site, the session may continue on beyond full acquisition of the site.

Silence : When Information objectified by the trainee viewer Is patently Incorrect, the monitor simply remains silent, which the viewer may freely Interpret as an Incorrect response.

In line with the learning theory upon which this system Is based, the Intent Is to avoid reinforcing any negative behavior or response.

Therefore, there Is no feedback for an Incorrect response; and any other feedback Information Is strictly limited to those as defined above.

It should be noted here that the above refers to earlier stages of the training process. Later stages do away with In-sesslon feedback to the viewer, and at even later stages the monitor himself Is denied access to any site Information or feedback until the session Is over.

On rare occasions, the Ideogram will be re-presented even when It has been properly decoded. This almost Inevitably occurs If the site Is extremely uniform, such as the middle of an ocean, a sandy desert, glacier, etc.

An AOL Is usually wrong, especially In early stages, but often does possess valid elements of the sltei 5! AOLs may be recognized In several ways.

First, If there Is a comparator present "It looks like. Hesitation In production of the "B" component In Stage I coordinate remote viewing, or a response that Is out of structure anywhere In the systemi 7!

Finally, the monitor or viewer can frequently detect AOL by the Inflection of the viewer's voice or other micro behaviors.

This serves to acknowledge to the viewer's system that the AOL has been recognized and duly recorded and that It Is not what Is desired, thereby purging the system of unwanted noise and debris and allowing the signal line In Its purity to be acquired and decoded properly.

Confusion Break often, "Conf Bk" : When the viewer becomes confused by events In his environment or information in the signal line to the degree that impressions he Is receiving are hopelessly entangled, a Confusion Break is called.

Whatever time necessary is allowed for the confusion to dissipate, and when necessary the cause for confusion is declared much like It Is done with AOL.

The RV process Is then resumed with an iteration of the coordinate. Too Much Break "TM Break" : When too much information is provided by the signal line all at once for the viewer to handle, a "Too Much Break" is called and written down objectified , telling the system to slow down and supply information in order of importance.

After the overload Is dissipated, the viewer may resume from the break, normally with the reiteration of the coordinates. A too much break is often indicated by an overly elaborate ideogram or ideograms.

Once the AOL-Drive is objectified, the break time taken will usually need to be longer than that for a normal AOL to allow the viewer to fully break contact and allow to dissipate the objectionable analytic loop.

Bi-location Break Bilo Bk : When the viewer perceives he is too much absorbed in and transferred to the site and cannot therefore appropriately debrief and objectify site information, or that he is too aware of and contained within the here-and-now of the remote viewing room, only weakly connected with the signal line, a Bilo break must be declared and objectified to allow the viewer to back out, and then get properly recoupled with the signal line again.

Break Break : If at any point in the system the viewer must take a break that does not fit into any of the other categories, a "Break" is declared.

It has been recommended that a break not be taken if the signal line is coming through strong and clear. If the break is extensive — say for twenty minutes or more, it is appropriate to objectify "Resume" and the time at the point of resumption.

Immediately underneath he briefly objectifies in one or a few words the cause or content of what occasioned the necessity for a break.

Summary: Structure is the key to usable RV technology. It is through proper structure-discipline that mental noise is suppressed and signal line information allowed to emerge cleanly.

As expressed by one early student, "Structure! Content be damned! As long as proper structure is maintained, information obtained may be relied on.

One of the primary duties of both monitor and viewer is to insure the viewer maintains proper structure, taking information in the correct sequence, at the correct stage, and in the proper manner.

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.

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. 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; rr 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.

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.

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.

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. Types of Ideograms: There are four types of Ideograms: 1.

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. 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.

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.

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 objectlflcatlon of the Ideogram Is completely Independent either of what It looks like or Its orientation on paper.

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.

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.

This presents itself as a spontaneous mark produced on the paper by the motion of hand and pen.

Sample responses may be "mountain, " "water, " "structure, " "land, " "ice, " "city, " "sand, " "swamp, " etc.

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.

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.

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.

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 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 Ideogrammatlc styles.

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.

Concept: Stage II presents to the viewer's cognition signal line data relevant to physical sensory input. The classic explanation of this is that such data are exactly equivalent to "sensations the viewer would experience were he physically present at the site.

Sense : Any of the faculties, as sight, hearing, smell, taste, or touch, by which man perceives stimuli originating from outside or inside the body.

Sensory : Of or pertaining to the senses or sensations. Tactile : Of, pertaining to, endowed with, or affecting the sense of touch.

Perceptible to the touch; capable of being touched; tangible. Auditory : Of or pertaining to hearing, to the sense of hearing, or to the organs of hearing.

Perceived through or resulting from the sense of hearing. Dimension : Extension in a single line or direction as length, breadth and thickness or depth.

A line has one dimension, length. A plane has two dimensions, length and breadth. A solid or cube has three dimensions, length, breadth and thickness.

Site Requirements : Sites for Stage II training are selected for their pronounced manifestation of sensory information.

Examples : sewage treatment plant, airport, pulp mill, botanical garden, chocolate factory, steel mill, amusement park, etc.

Clusters: Stage II responses tend to come in groups or "clusters" of words — usually words, though sometimes more — pertaining to different aspects or gestalts of the site.

If for example a body of water and an area of land are present at the site, a group of sensory Stage II words might be produced by the viewer relating to the land, then another group relating to the water.

This is particularly noticeable in sites whose ideograms product two or more "A" and "B" components. Stage lis will tend to cluster in respect to the "A" and "B" components to which they relate.

Stage II responses cluster in another sense as well. Frequently, types of sensory responses will come together. For example two or three tastes, smells, colors, or textures may cluster together as the viewer objectifies his perceptions on the paper.

When objectified words go beyond the "basics" they are considered "out of structure" and therefore unreliable.

Not only does this allow the more detailed sensory information to pass through to the viewer, but it is accompanied by a correspondingly longer signal "loiter" time — the information comes in more slowly, and is less concentrated.

Towards the end of Stage II, and approach the threshold of Stage III, the aperture begins to expand even further, allowing the acquisition of dimensionally related information, see below.

Dimensionals : As the viewer proceeds through Stage II and approaches Stage III y the aperture widens, allowing the viewer to shift from a global gestalt perspective, which is paramount through Stage I and most of Stage II, to a perspective in which certain limited dimensional characteristics are discernable.

These words demonstrate five dimensional concepts : vertical-ness , horizontal-ness , angularity, space or volume, and mass.

While at first glance the concept of "mass" seems to be somewhat inappropriate to the dimensional concept, mass in this case can be conceived in in dimensionally related terms as in a sense being substance occupying a specific three dimensional area.

Generally received only in the latter portion of Stage II, dimensionals are usually very basic — "tall, " "wide, " "long, " "big.

If these more complex dimensionals are reported during Stage II they are considered "out of structure" and therefore unreliable. Though it does occasionally occur, something about the extremely basic sensory nature of the data bits being received strongly tends to avoid AOL.

Some suppositions suggest that the sensory data received comes across either at a low enough energy level or through a channel that does not stimulate the analytic portion of the mind to action.

In effect, the mind is "fooled" into thinking Stage II information is being obtained from normal physical sensory sources. The combination of true sensory data received in Stage II may produce a valid signal line "image" consisting of colors, forms, and textures.

Stage II visuals or other true signal line visuals of the site may be distinguished from an AOL in that they are perceived as fuzzy, indistinct and tending to fade in and out as one attempts to focus on its constituent elements rather than the sharp, clear, static image present with AOL.

In normal session structure, it occurs only after two or more dimensional s occur in the signal line. On occasion, however, AI can occur more or less spontaneously in Stage II, especially when a site is involved with very pronounced Stage II elements, such as particularly noisome chemical plant.

AIR is the viewer r s personal, emotional response to the site: "How the site makes you feel. When giving the assignment, the trainer emphasizes reliance on "basic" words as described above.

Can't tell. This thing is really BIG! 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 r 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.

Aesthetic : Sensitivity of response to given site. Drawing : The act of representing something by line, etc. Idea : Mental conception; a vague impression; a hazy perception; a model or archetype.

Impact : A striking together; changes, moods, emotions, sometimes very gross, but may be very weak or very subtle.

Mobility : The state or quality of being mobile. Motion : The act or process of moving. Perceptible : That which can be grasped mentally through the senses.

Prompt : To incite to move or to action; move or inspire by suggestion. Render inQ : Version; translation often highly detailed.

Sketch : To draw the general outline without much detail; to describe the principle points idea of. To Track : To trace by means of vestiges, evidence f etc.

Vision : One of the faculties of the sensorum f connected to the visual senses out of which the brain constructs an image.

Locales such as bridges, monuments, airports, unusual natural formations, etc. 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.

Horizontal : Parallel to the plane of the horizon. Mass : Extent of whatever forms a body — usually matter.

Space : Distance interval or area between or within things. Volume : A quantity; bulk; mass; or amount.

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. It may be experienced and expressed in a variety of ways. A simple exclamation of "Wow!

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 r 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 throucjh 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. Declarations can be everything from a simple "Wow!

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.

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. 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.

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.

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.

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-lgnlte" 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.

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Project Stargate, and a few others like it, was canceled by the 's, due to a lack of reliable results. Proponents of Project Stargate say that the US government's investment in the project proves that it had merit.

Critics point out that the funding was stopped, and say that if merit had been found, funding would have at least been continued, if not dramatically increased.

We can be reasonably assured that the project did not move underground with renewed funding, since the participants have all long since gone public with full disclosure of what happened.

Since none of them have turned up mysteriously disappeared, we can safely assume that the government is not too concerned about this supposedly "classified" information.

The most famous remote viewer to emerge from these projects is a man named Joseph McMoneagle. Today he offers his remote viewing services on a consulting basis, and in he went on the television show "Put to the Test" to show just what he could do.

There is a clip from the show on the Skeptoid. What you'll find is that the show's unabashed endorsement of his abilities contributes largely to the perception of his success, but if you really listen to the statements he makes, and look at the drawings he produces, you'll find little similarity to what he was supposed to identify.

They took him to Houston, Texas and sent a target person to one of four chosen locations. McMoneagle's task was to draw what she saw, thus determining where she was.

They edited the 15 minute session down to just a couple of minutes for the show, so you've got to figure that they probably left in only the most significant hits and edited out all of the misses.

The four locations were a life size treehouse in a giant tree, a tall metal waterslide at an amusement park, a dock along the river, and the Water Wall, a huge cement fountain structure.

Here is what McMoneagle said:. That's it - those were the only statements of Joe's that they broadcast. Strangely, at no point did they ask McMoneagle to identify the location; they did not even ask him to choose from the four possibilities.

Instead, they simply took him to the actual destination where the target person was, which turned out to be the dock, and then set about finding matches to Joe's statements.

Suddenly, nearly all of Joe's statements made perfect sense! Certainly there's a river nearby. There was a traffic bridge in the distance: traffic, pedestrians, near, far, no big difference.

Metallic noise and something big: there was a ship at the dock, but if you ask me what kind of noise a ship makes, metallic is not the word I'd use.

And that platform with a black stripe? Could be a ship. I argue that the target person could have been at any one of the four locations, and Joe's psychic predictions would have seemed equally impressive.

Joe made numerous sketches, but the only two that they showed were a sketch of a squiggly river the river at the dock is between straight cement seawalls and a vague triangular shape, which they interpreted as similar to a crane on a barge when seen from a certain angle.

Bottom line: The only thing I found impressive about McMoneagle's demonstration was their editing and narration job to make it look like the most amazing and miraculous psychic feat in history.

Maybe he failed this time because he was not in complete control of the test conditions, as he was in Project Stargate.

Maybe the rest of time, McMoneagle is able to display spectacular unambiguous results. McMoneagle claims a decent hit rate, but not perfect.

If I were a professional remote viewer, I too would claim a less-than-perfect success rate: High enough to sound impressive; but low enough to allow for potential failures in cases where protocols were imposed that I couldn't control.

I'm not a magician myself — it's really sad to even watch me try to shuffle a deck of cards — but I do know how a lot of the tricks are done.

And I can assure you more importantly, any professional magician can assure you that the abilities claimed by remote viewers are well within the magician's bag of parlor tricks.

This doesn't prove that remote viewers are just putting us on with simple tricks, but their claims and their results are consistent with that.

Which of these two possible explanations is most likely true: That remote viewers are using well-proven techniques demonstrated by professional and amateur magicians every day; or that they are accomplishing a feat of true paranormal abilities, which has never been demonstrated under controlled conditions, cannot be duplicated by anyone else, and has no proposed mechanism by which it might be possible?

Now I'll be the devil's advocate, and give the reply that most believers in remote viewing are probably thinking right now: That my characterization is untrue, and that these feats of knowing the unknowable are performed under controlled conditions, and that magicians cannot duplicate these feats.

I'll answer that now, and while I do, keep one thing in mind: that the "controlled conditions" under which Joe McMoneagle performed at Stargate were, according to him, defined and set up by Joe McMoneagle himself — literally putting the fox in charge of the chickens.

Noted professional magician James Randi secretly recruited two teenagers, Steve Shaw and Mike Edwards, and gave them a basic training in stage magic and the art of deception.

He also suggested that they have an experienced magician present during their experiments to look for such techniques.

Remote Viewing Anleitung

Remote Viewing Anleitung Neueste Kommentare

German Edition Kostenlos. Diese Seite wurde zuletzt am 3. Die Technik des Remote Viewing wurde unter strengen wissenschaftlichen Auflagen experimentell entwickelt und grenzt sich klar ab von Techniken wie zum Beispiel Wahrsagerei - See more oder Pendeln. Ansichten Lesen Formular anzeigen Versionsgeschichte. Wenn du aufgeschlossen bist und click at this page hier präsentierte Wissen anwendest, kann dein Leben dadurch lebenswerter und nachhaltiger werden. Anhand der Bilder, die der Viewer beschreibt, kann man nun ablesen, welche Ereignisse eintreffen und welche nicht. Dies war einer der erfolgreichsten Versuchsansätze der Parapsychologie der vergangenen Jahrzehnte. Deshalb muss nicht jeder Autor alle Passagen des Artikels unterstützen.

At present there are six "stages" of training. In general, these stages progress as follows: 1 "Stage I" sites Islands, mountains, deserts, etc.

The following document has been prepared to serve as a comprehensive explanation of the theory and mechanics of CRV as developed by SRI-I.

It Is Intended for Individuals who have no In-depth understanding of the technology and as a guide for future training programs.

Particular attention should be paid to the glossary at the end of the document and to the terms as defined In the text, as they are the only acceptable definitions to be used when addressing the methodology presented.

Concept: As will be explained In greater detail below, remote viewing theory postulates a non-material "Matrix" In which any and all Information about any person, place or thing may be obtained through the agency of a hypothesized "signal line.

A remote viewing session consists of both the Interaction of a remote viewer with the signal line, and the Interaction between the viewer and the monitor.

The monitor and viewer are generally seated at opposite ends of a table. The viewer has a pen and plenty of paper In front of him.

The monitor observes the viewer, and determines when the viewer Is ready to begin when the viewer places his pen on the left side of the paper In preparation to record the coordinates.

The monitor then reads the coordinate, the viewer writes It, and the session proceeds from that point according to theory and methodology as discussed at length below.

Definitions: 1. Matrix : Something within which something else originates or takes form or develops. A place or point of origin or growth.

In radio propagation theory, the carrier wave that Is received by the radio or radar receiving set. Signal Line : The hypothesized train of signals emanating from the Matrix discussed below and perceived by the remote viewer, which transports the Information obtained through the remote viewing process.

Wave : A disturbance or variation that transfers Itself and energy progressively from point to point In a medium or In space In such a way that each particle or element Influences the adjacent ones and that may be in the form of an elastic deformation or of a variation of level or pressure, of electric or magnetic intensity, of electric potential, or of temperature.

Aperture : An opening or open space; hole, gap, cleft, chasm, slit. In radar, the electronic gate that controls the width and dispersion pattern of the radiating signal or wave.

Gestalt : A unified whole; a configuration, pattern, or organized field having specific properties that cannot be derived from the summation of its component parts.

Evoking : Evoke: "to call forth or up; to summon; to call forth a response; elicit. Upon receiving the signal, the viewer must "decode" this information through proper structure to make it accessible.

This concept is very similar to radio propagation theory, in which the main carrier signal is modulated to convey the desired information.

Discussion: The Matrix has been described as a huge, non-material, highly structured, mentally accessible "framework" of information containing all data pertaining to everything in both the physical and non-physical universe.

In the same vein as Jung's Cosmic Unconsciousness , the Matrix is open to and comprises all conscious entities as well as information relating to everything else living or nonliving by accepted human definition.

It is this informational framework from which the data encoded on the signal line originates. This Matrix can be envisioned as a vast, three dimensional geometric arrangement of dots, each dot representing a discrete information bit.

Each geographic location on the earth has a corresponding segment of the Matrix corresponding exactly to the nature of the physical location.

When the viewer is prompted by the coordinate or other targeting methodology, he accesses the signal line for data derived from the Matrix.

By successfully acquiring detecting this information from the signal line, then coherently decoding it through his conscious awareness and faculties, he makes it available for analysis and further exploitation by himself or others.

Remote viewing is made possible through the agency of a hypothetical "signal line. This signal line radiates in many different frequencies, and its impact on the viewer's perceptive faculties is controlled through a phenomenon known as "aperture.

In this situation, we therefore speak of a "narrow" aperture, since only a very narrow portion of the signal line is allowed to access the consciousness.

In later stages involving longer, slower, more enduring waves, the aperture is spoken of as being "wider. Stage I is the first and most general of the six stages thus far identified.

Each stage is a natural progression, building on the information obtained during the previous stage. Levels of Consciousness: 1.

Subconscious : Existing in the mind but not immediately available to consciousness; affecting thought, feeling, and behavior without entering awareness.

The mental activities just below the threshold of consciousness. Subliminal : Existing or functioning outside the area of conscious awareness; influencing thought, feeling, or behavior in a manner unperceived by personal or subjective consciousness ; designed to influence the mind on levels other than that of conscious awareness and especially by presentation too brief to be consciously perceived.

Limen : The threshold of consciousness; the interface between the subconscious and conscious. Liminal : At the limen; verging on consciousness.

Supraliminal : Above the limen; in the realm of conscious awareness. Conscious : Perceiving, apprehending, or noticing with a degree of controlled thought or observation; recognizing as something external.

Present especially to the senses. Involving rational power, perception, and awareness. By definition, the "conscious" part of the human being is that portion of the human consciousness which is linked most closely to and limited by the material world.

Autonomic Nervous System ANS : A part of the vertebrate nervous system that innervates smooth and cardiac muscle and glandular tissues, governs actions that are more or less automatic, and consists of the sympathetic nervous system and the parasympathetic nervous system Webster's 3rd Int.

Ideogram I : The reflexive mark made on the paper as a result of the impingement of the signal on the autonomic nervous system and its subsequent transmittal through this system to the arm and hand muscles, which transfers it through the pen onto the paper.

Analytic Overlay AOL : Conscious subjective Interpretation of signal line data, which may or may not be relevant to the site. Automatic vs.

Note: in the original document, "j. Discussion : RV theory relies on a rather Freudian model of human consciousness levels. The lowest level of consciousness is paradoxically named the "unconscious.

It is apparently this part of the individual's psyche that first detects and receives the signal line. From here it is passed to the autonomic nervous system.

When the signal line impinges on the ANS, the information is converted into a reflexive nervous response conducted through muscular channels controlled by the ANS.

If so allowed, this response will manifest itself as an ideogram. At the same time, the signal is passed up through the subconscious , across the limen, and into the lower fringes of the consciousness.

This is the highest state of consciousness from the standpoint of human material awareness. However, the normal waking consciousness poses certain problems for remote viewing, occasioned largely because of the linear, analytic thought processes which are societally enhanced and ingrained from our earliest stages of cognitive development.

While extremely useful in a society relying heavily on quantitative data and technological development, such analytic thinking hampers remote viewing by the manufacture of what is known as "analytic overlay, " or AOL.

As the signal line surges up across the limen and into the threshold areas of consciousness, the mind's conscious analytic process feels duty-bound to assign coherence to what at first blush seems virtually incomprehensible data coming from an unaccustomed source.

It must in other words make a "logical" assessment based on the impressions being received. Essentially, the mind jumps to one or a number of instantaneous conclusions about the incoming information without waiting for sufficient information to make an accurate judgement.

This process is completely reflexive, and happens even when not desired by the individual involved.

Instead of allowing wholistic "right-brain" processes through which the signal line apparently manifests itself to assemble a complete and accurate concept, untrained "left brain" -based analytic processes seize upon whatever bit of information seems most familiar and forms an AOL construct based on it.

For example, a viewer has been given the coordinates to a large, steel girder bridge. A flash of a complex, metal, manmade structure may impinge on the limenary regions of the viewer's mind, but so briefly that no coherent response can be made to it.

The conscious mind, working at a much greater speed than the viewer expects, perceives bits and pieces such as angles, riveted girders, and a sense of being "roofed over" and paved, whereupon it suggests to the physical awareness of the viewer that the site is the outside of a large sports stadium.

The "image" is of course wrong, but is at least composed of factual elements, though these have been combined by the viewer's over-eager analytical processes to form an erroneous conclusion.

Learning Theory 1. Overtraining : The state reached when the individual ' s learning system is over-saturated and is "burned out y " analogous to a muscle that has been overworked and can no longer extend or contract until it is allowed to rest and rebuild fibers that have been broken down by the stress, or reinforce those that have been newly acquired by new demands placed upon the muscle.

Absorption : Assimilation, as by incorporation or by the digestive process. Cognitron : A cognitron is an assemblage of neurons, linked together by interconnecting synapses , and which when stimulated by the mind 1 s recall system produce a composite concept of their various subparts.

Each neuron is charged with an element of the overall concept, which when combined with the elements of its fellow neurons produces the final concept which the cognitron represents.

As a human learns new facts, skills or behaviors, neurons are connecting into new cognitrons, the connecting synapses of which are more and more reinforced with use.

Neuron : "A nerve cell with all its processes. Neurons are the basic element in the formation of cognitrons, and may be linked into varying configurations by the formation or rearrangement of synapse chains.

Synapse : The interstices between neurons over which nerve impulses must travel to carry information from the senses, organs, and muscles to the brain and back, and to conduct mental processes.

Learning Curve : The graphic representation of the standard success-to-session ratio of a remote viewer trainee. The typical curve demonstrates high success for the first one to a few attempts, a sudden and drastic drop in success, then a gradual improvement curve until a relatively high plateau is reached.

First-Time Effect : In any human activity or skill a phenomenon exists known as "beginner's luck. This effect Is hypothesized to result from the Initial excitation of hereditary but dormant psl-conductlng neuronal channels which, when first stimulated by attempted psychoenergetlc functioning "catch the analytic system off guard, " as It were, allowing high-grade functioning with little other system Interference.

Once the Initial novelty wears off, the analytic systems which have been trained for years to screen all mental functions attempt to account for and control the newly awakened neural pathways, thereby generating Increasing amounts of masking "mental noise, " or AOL.

Noise : The effect of the various types of overlay, Inclemencies, etc. Noise must be dealt with properly and In structure to allow the viewer to accurately recognize the difference between valid signal and his own Incorrect Internal processes.

Discussion: Learning theory for RV methodology Is governed by the Idea that the student should "quit on a high point.

Recent developments In learning theory which have been applied with particular success In sports training methodology Indicate that the rote repetition concept tends more to reinforce Incorrect performance as opposed to developing the proper behavior or skill.

Much success has been realized by Implementing the concept of "quitting on a high point. The phenomenon of overtraining Is a very real danger In the training cycle, generally brought about by pushing ahead with training until the learning system of the viewer is totally saturated and cannot absorb any more.

This results in system collapse, which in effect is a total failure to function psychically at all. To avoid this, the normal practice has been to work an appropriate number of sessions a day anywhere from one to several, depending on each individual trainee's capacity and level of training and experience for a set number of days or weeks also individually dependent , with a lay off period between training periods to allow time for assimilation or "absorption.

It is extremely important that the viewer inform the monitor when he is feeling especially good about his performance in remote viewing training, so that a training break may be initiated on this high point.

To continue to push beyond this threatens a slide into overtraining. It is very important that should the viewer in the course of the training session become aware that he has experienced some important "cognition" or understanding , or if the monitor perceives that this is the case, the session must here also be halted.

This allows time both for the cognition to be fully matriculated into the viewer's system and for the accompanying elation of discovery to dissipate.

The fact that CRV methodology is arranged into six distinct stages implies that there is a learning progression from one stage to the next.

To determine when a student viewer is ready to advance to the next stage, certain milestones are looked for. Though the peculiarities of each stage make certain of these criteria relevant only to that specific stage, general rules may still be outlined.

When a viewer has consistently demonstrated control and replication of all pertinent stage elements and has operated "noise free" i. Essay writing is an important part of the CRV training, and serves as a sort of intellectual " object!

Through student essays the instructor is able to determine how thoroughly and accurately the student has internalized the concepts taught.

Reference Material: 1. Learning Theory: a. Fukushima, K. Shevrln, H. West lake, P. Concept: "Structure" is a singularly Important element in remote viewing theory.

The word "structure" signifies the orderly process of proceeding from general to specific in accessing the signal line, of objectifying in proper sequence all data bits and RV-related subjective phenomena i.

Structure is executed in a formal ordered format sequence using pen and paper. A sample format will be provided as each stage is discussed in turn f since different elements are used in each.

Definitions and Discussion: 1. Inclemencies : Personal considerations that might degrade or even preclude psychic functioning. Muscle pains, colds, allergies, menstrual cramps, hangovers, mental and emotional stress, etc.

Only hunger and a pressing need to eliminate body wastes cause the system to totally not function.

It is important, though, that the viewer identify and declare any inclemencies either at the first of the session or as they are recognized, since unattended agendas such as these can color or distort the viewer r s functioning if not eliminated from the system through object!

Preferably, the monitor will ask the viewer if he has any personal inclemencies even before the first iteration of the coordinate so as to purge the system as much as possible before beginning the session proper.

There is evidence that an additional category of inclemencies exist, which we might refer to as environmental inclemencies.

Extremely low frequency ELF electromagnetic radiation may have a major role in this. Experience and certain research suggests that changes in the Earth 1 s geomagnetic field — normally brought about by solar storms, or "sunspots, " may degrade the remote viewer T s system, or actually cause it to cease functioning effectively altogether.

On-going research projects are attempting to discover the true relationship f If any, between solar storms, ELF, and human psychic functioning.

Object Iflcat Ion : The act of physically saying out loud and writing down Information. In this methodology, objectlflcatlon serves several Important functions.

First, It allows the Information derived from the signal line to be recorded and expelled from the system, freeing the viewer to receive further Information and become better In tune with the signal line.

Secondly, It makes the system Independently aware that Its contributions have been acknowledged and recorded. Thirdly, It allows re-Input of the Information Into the system as necessary for further prompting.

In effect, objectlflcatlon "gives reality" to the signal line and the Information It conveys. Finally, objectlflcatlon allows non-signal line derived material Inclemencies, AOLs, etc.

A full discussion may be found In the Stage I section below. Feedback : Those responses provided during the session to the viewer to Indicate If he has detected and properly decoded site-relevant Information; or, Information provided at some point after completion of the RV session or project to "close the loop" as It were, providing the viewer with closure as to the site accessed and allowing him to assess the quality of his performance more accurately.

In-sesslon feedback, with which we will be here most concerned, Is usually only used extensively In earlier stages of the training process, and has several Interconnected functions.

The very nature of the RV phenomena makes It often only rather tenuously accessible to one's physically-based perceptions, and therefore difficult to recognize.

Feedback Is provided after correct responses to enable the viewer to Immediately Identify those perceptions which produced the correct response and associate them with proper psychic behavior.

Secondly, It serves to develop much-needed viewer confidence by Immediately rewarding the viewer and letting him know that he Is being successful.

Finally, It helps keep the viewer on the proper course and connected with the signal line, preventing him from falling Into AOL drive and wandering off on a tangent.

Correct abbreviated "C" : The data bit presented by the trainee viewer Is assessed by the monitor to be a true component of the site. Probably Correct "PC" : Data presented cannot be fully assessed by the monitor as being accurate site Information, but It would be reasonable to assume because of Its nature that the Information Is valid for the site.

Near Site "N" : Data objectified by the viewer are elements of objects or locations near the site.

Site "S" : Tells the former that he has successfully acquired and debriefed the site. In elementary training sessions, this usually signifies the termination of the session.

At later stages, when further Information remains to be derived from the site, the session may continue on beyond full acquisition of the site.

Silence : When Information objectified by the trainee viewer Is patently Incorrect, the monitor simply remains silent, which the viewer may freely Interpret as an Incorrect response.

In line with the learning theory upon which this system Is based, the Intent Is to avoid reinforcing any negative behavior or response.

Therefore, there Is no feedback for an Incorrect response; and any other feedback Information Is strictly limited to those as defined above.

It should be noted here that the above refers to earlier stages of the training process. Later stages do away with In-sesslon feedback to the viewer, and at even later stages the monitor himself Is denied access to any site Information or feedback until the session Is over.

On rare occasions, the Ideogram will be re-presented even when It has been properly decoded. This almost Inevitably occurs If the site Is extremely uniform, such as the middle of an ocean, a sandy desert, glacier, etc.

An AOL Is usually wrong, especially In early stages, but often does possess valid elements of the sltei 5! AOLs may be recognized In several ways.

First, If there Is a comparator present "It looks like. Hesitation In production of the "B" component In Stage I coordinate remote viewing, or a response that Is out of structure anywhere In the systemi 7!

Finally, the monitor or viewer can frequently detect AOL by the Inflection of the viewer's voice or other micro behaviors.

This serves to acknowledge to the viewer's system that the AOL has been recognized and duly recorded and that It Is not what Is desired, thereby purging the system of unwanted noise and debris and allowing the signal line In Its purity to be acquired and decoded properly.

Confusion Break often, "Conf Bk" : When the viewer becomes confused by events In his environment or information in the signal line to the degree that impressions he Is receiving are hopelessly entangled, a Confusion Break is called.

Whatever time necessary is allowed for the confusion to dissipate, and when necessary the cause for confusion is declared much like It Is done with AOL.

The RV process Is then resumed with an iteration of the coordinate. Too Much Break "TM Break" : When too much information is provided by the signal line all at once for the viewer to handle, a "Too Much Break" is called and written down objectified , telling the system to slow down and supply information in order of importance.

After the overload Is dissipated, the viewer may resume from the break, normally with the reiteration of the coordinates.

A too much break is often indicated by an overly elaborate ideogram or ideograms. Once the AOL-Drive is objectified, the break time taken will usually need to be longer than that for a normal AOL to allow the viewer to fully break contact and allow to dissipate the objectionable analytic loop.

Bi-location Break Bilo Bk : When the viewer perceives he is too much absorbed in and transferred to the site and cannot therefore appropriately debrief and objectify site information, or that he is too aware of and contained within the here-and-now of the remote viewing room, only weakly connected with the signal line, a Bilo break must be declared and objectified to allow the viewer to back out, and then get properly recoupled with the signal line again.

Break Break : If at any point in the system the viewer must take a break that does not fit into any of the other categories, a "Break" is declared.

It has been recommended that a break not be taken if the signal line is coming through strong and clear. If the break is extensive — say for twenty minutes or more, it is appropriate to objectify "Resume" and the time at the point of resumption.

Immediately underneath he briefly objectifies in one or a few words the cause or content of what occasioned the necessity for a break.

Summary: Structure is the key to usable RV technology. It is through proper structure-discipline that mental noise is suppressed and signal line information allowed to emerge cleanly.

As expressed by one early student, "Structure! Content be damned! As long as proper structure is maintained, information obtained may be relied on.

One of the primary duties of both monitor and viewer is to insure the viewer maintains proper structure, taking information in the correct sequence, at the correct stage, and in the proper manner.

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.

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.

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; rr 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.

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.

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. 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.

Types of Ideograms: There are four types of Ideograms: 1. 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.

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.

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. 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 objectlflcatlon of the Ideogram Is completely Independent either of what It looks like or Its orientation on paper.

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.

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.

This presents itself as a spontaneous mark produced on the paper by the motion of hand and pen. Sample responses may be "mountain, " "water, " "structure, " "land, " "ice, " "city, " "sand, " "swamp, " etc.

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.

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.

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.

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 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 Ideogrammatlc styles.

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.

Concept: Stage II presents to the viewer's cognition signal line data relevant to physical sensory input. The classic explanation of this is that such data are exactly equivalent to "sensations the viewer would experience were he physically present at the site.

Sense : Any of the faculties, as sight, hearing, smell, taste, or touch, by which man perceives stimuli originating from outside or inside the body.

Sensory : Of or pertaining to the senses or sensations. Tactile : Of, pertaining to, endowed with, or affecting the sense of touch.

Perceptible to the touch; capable of being touched; tangible. Auditory : Of or pertaining to hearing, to the sense of hearing, or to the organs of hearing.

Perceived through or resulting from the sense of hearing. Dimension : Extension in a single line or direction as length, breadth and thickness or depth.

A line has one dimension, length. A plane has two dimensions, length and breadth. A solid or cube has three dimensions, length, breadth and thickness.

Site Requirements : Sites for Stage II training are selected for their pronounced manifestation of sensory information.

Examples : sewage treatment plant, airport, pulp mill, botanical garden, chocolate factory, steel mill, amusement park, etc.

Clusters: Stage II responses tend to come in groups or "clusters" of words — usually words, though sometimes more — pertaining to different aspects or gestalts of the site.

If for example a body of water and an area of land are present at the site, a group of sensory Stage II words might be produced by the viewer relating to the land, then another group relating to the water.

This is particularly noticeable in sites whose ideograms product two or more "A" and "B" components. Stage lis will tend to cluster in respect to the "A" and "B" components to which they relate.

Stage II responses cluster in another sense as well. Frequently, types of sensory responses will come together. For example two or three tastes, smells, colors, or textures may cluster together as the viewer objectifies his perceptions on the paper.

When objectified words go beyond the "basics" they are considered "out of structure" and therefore unreliable. Not only does this allow the more detailed sensory information to pass through to the viewer, but it is accompanied by a correspondingly longer signal "loiter" time — the information comes in more slowly, and is less concentrated.

Towards the end of Stage II, and approach the threshold of Stage III, the aperture begins to expand even further, allowing the acquisition of dimensionally related information, see below.

Dimensionals : As the viewer proceeds through Stage II and approaches Stage III y the aperture widens, allowing the viewer to shift from a global gestalt perspective, which is paramount through Stage I and most of Stage II, to a perspective in which certain limited dimensional characteristics are discernable.

These words demonstrate five dimensional concepts : vertical-ness , horizontal-ness , angularity, space or volume, and mass. While at first glance the concept of "mass" seems to be somewhat inappropriate to the dimensional concept, mass in this case can be conceived in in dimensionally related terms as in a sense being substance occupying a specific three dimensional area.

Generally received only in the latter portion of Stage II, dimensionals are usually very basic — "tall, " "wide, " "long, " "big.

If these more complex dimensionals are reported during Stage II they are considered "out of structure" and therefore unreliable.

Though it does occasionally occur, something about the extremely basic sensory nature of the data bits being received strongly tends to avoid AOL.

Some suppositions suggest that the sensory data received comes across either at a low enough energy level or through a channel that does not stimulate the analytic portion of the mind to action.

In effect, the mind is "fooled" into thinking Stage II information is being obtained from normal physical sensory sources. The combination of true sensory data received in Stage II may produce a valid signal line "image" consisting of colors, forms, and textures.

Stage II visuals or other true signal line visuals of the site may be distinguished from an AOL in that they are perceived as fuzzy, indistinct and tending to fade in and out as one attempts to focus on its constituent elements rather than the sharp, clear, static image present with AOL.

In normal session structure, it occurs only after two or more dimensional s occur in the signal line.

On occasion, however, AI can occur more or less spontaneously in Stage II, especially when a site is involved with very pronounced Stage II elements, such as particularly noisome chemical plant.

AIR is the viewer r s personal, emotional response to the site: "How the site makes you feel. When giving the assignment, the trainer emphasizes reliance on "basic" words as described above.

Can't tell. This thing is really BIG! 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 r 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.

Aesthetic : Sensitivity of response to given site. Drawing : The act of representing something by line, etc. Idea : Mental conception; a vague impression; a hazy perception; a model or archetype.

Impact : A striking together; changes, moods, emotions, sometimes very gross, but may be very weak or very subtle.

Mobility : The state or quality of being mobile. Motion : The act or process of moving. Perceptible : That which can be grasped mentally through the senses.

Prompt : To incite to move or to action; move or inspire by suggestion. Render inQ : Version; translation often highly detailed. Sketch : To draw the general outline without much detail; to describe the principle points idea of.

To Track : To trace by means of vestiges, evidence f etc. Vision : One of the faculties of the sensorum f connected to the visual senses out of which the brain constructs an image.

Locales such as bridges, monuments, airports, unusual natural formations, etc. 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.

Horizontal : Parallel to the plane of the horizon. Mass : Extent of whatever forms a body — usually matter. Space : Distance interval or area between or within things.

Volume : A quantity; bulk; mass; or amount. 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. It may be experienced and expressed in a variety of ways. A simple exclamation of "Wow!

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 r 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 throucjh 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. Declarations can be everything from a simple "Wow!

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. 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. 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.

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.

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.

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-lgnlte" 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.

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.

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 lis, 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.

This Is often termed a "movement " or "movement exercise, " and Is executed thusly. When the monitor Is confident that the viewer has successfully locked onto this primary site, he tells the viewer to "prepare for movement.

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-lnduclng as possible.

The monitor will say "Acquire the site, " to which the viewer responds approximately, "A large grey structure. Note, however, the very neutral way the monitor provided the prompting.

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 uncontamlnated 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. 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.

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.

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.

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.

Ratchetincr : The recurrence of the same AOL over and over again as if trapped in a feedback loop.

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.

I'm dizzy! Previously , such a flow of data would have been overwhelming ', and those circumstances In Stages I through III In which the viewer found himself so Inundated would have required the taking of a "Too Much Break.

This Is accomplished through the use of an Information matrix which Is Illustrated below. Stage IV Is a refinement and expansion of the previous structure to facilitate more complete and detailed decoding of the signal line.

Those that have not are explained as follows: 1. Emotional Impact : The perceived emotions or feelings of the people at the site or of the viewer.

Sometimes the site Itself possesses an element of emotional Impact, which Is Imprinted with long or powerful associations with human emotional response.

Tangibles : Objects or characteristics at the site which have solid, "touchable" Impact on the perceptions of the viewer, i.

Intangibles : Qualities of the site that are perhaps abstract or not specifically defined by tangible aspects of the site, such as purposes, non-physical qualities, categorizations, etc.

One can ask, "What Is this trying to tell me about the site? In Stage IV, more detailed and complex dlmenslonals can be expected and are now considered to be In structure and therefore more reliable.

S Stage II Information sensory data. D: Dlmenslonals. AI: Aesthetic Impact. EI: Emotional Impact. T: Tangibles. I: Intangibles.

AOL: Analytic Overlay. Session Format and Mechanics: As the viewer produces Stage IV responses generally single words that describe the concepts received via the signal line they are entered In the matrix under their appropriate categories.

The matrix Is filled In left to right, going from the more sense-based Stage lis and dimensional towards the ever more refined Information to the right, and top to bottom, following the natural flow of the signal line.

Some particular aspect of the site will manifest Itself, and the sub-elements pertaining to that aspect will occur relatively rapidly to the viewer In the general rlght-to-left and top-to-bottom pattern just described.

Could be a ship. I argue that the target person could have been at any one of the four locations, and Joe's psychic predictions would have seemed equally impressive.

Joe made numerous sketches, but the only two that they showed were a sketch of a squiggly river the river at the dock is between straight cement seawalls and a vague triangular shape, which they interpreted as similar to a crane on a barge when seen from a certain angle.

Bottom line: The only thing I found impressive about McMoneagle's demonstration was their editing and narration job to make it look like the most amazing and miraculous psychic feat in history.

Maybe he failed this time because he was not in complete control of the test conditions, as he was in Project Stargate.

Maybe the rest of time, McMoneagle is able to display spectacular unambiguous results. McMoneagle claims a decent hit rate, but not perfect.

If I were a professional remote viewer, I too would claim a less-than-perfect success rate: High enough to sound impressive; but low enough to allow for potential failures in cases where protocols were imposed that I couldn't control.

I'm not a magician myself — it's really sad to even watch me try to shuffle a deck of cards — but I do know how a lot of the tricks are done.

And I can assure you more importantly, any professional magician can assure you that the abilities claimed by remote viewers are well within the magician's bag of parlor tricks.

This doesn't prove that remote viewers are just putting us on with simple tricks, but their claims and their results are consistent with that.

Which of these two possible explanations is most likely true: That remote viewers are using well-proven techniques demonstrated by professional and amateur magicians every day; or that they are accomplishing a feat of true paranormal abilities, which has never been demonstrated under controlled conditions, cannot be duplicated by anyone else, and has no proposed mechanism by which it might be possible?

Now I'll be the devil's advocate, and give the reply that most believers in remote viewing are probably thinking right now: That my characterization is untrue, and that these feats of knowing the unknowable are performed under controlled conditions, and that magicians cannot duplicate these feats.

I'll answer that now, and while I do, keep one thing in mind: that the "controlled conditions" under which Joe McMoneagle performed at Stargate were, according to him, defined and set up by Joe McMoneagle himself — literally putting the fox in charge of the chickens.

Noted professional magician James Randi secretly recruited two teenagers, Steve Shaw and Mike Edwards, and gave them a basic training in stage magic and the art of deception.

He also suggested that they have an experienced magician present during their experiments to look for such techniques.

Neither suggestion was followed. As a result, out of applicants claiming to have psychic abilities, only Shaw and Edwards passed the preliminary examinations and were accepted into the program.

For the next four years, Shaw and Edwards consistently amazed the researchers, and the parapsychology community at large, with their psychic abilities.

Like McMoneagle, Shaw and Edwards were often allowed some amount of control over the conditions.

Randi tried to confess the hoax by performing all the same tricks and explaining exactly how Shaw and Edwards were doing it, but the researchers didn't believe him.

Randi finally laid it all out in Discover magazine, the research came to a stop, and there were widespread shockwaves throughout the parapsychology community.

If Project Alpha resulted in parapsychologists awakening to the fact that they are able to be deceived, either by subjects or themselves, as a result of their convictions and their lack of expertise in the arts of deception, then it has served its purpose.

The lack of expertise in the arts of deception. Unfortunately, nearly all of us outside the world of professional magic lack such expertise.

The inevitable conclusion to be drawn from Project Alpha is that magicians, even relative novices like Shaw and Edwards, can fool very serious researchers under controlled conditions, even when those scientists are serious about finding flaws in the methodology and looking for hoaxes, and even after having been briefed by Randi himself on what to look for.

It is not hard to reach the corollary conclusion: That non-investigative, non-scientific, non-critical minds, like Joe McMoneagle's audiences and the people he worked with in the CIA, could also be duped by similar skills, and be firmly convinced of their reality.

You want remote viewing? Steve Shaw, who now performs under the stage name Banachek, can read the ID numbers off a card in your pocket, and he can do it on stage every time, without any mistakes, without any outside assistance, no cameras, microphones, or other trickery involved.

When you see something that seems impossible, approach it skeptically. Before you accept that it's something outside of our world, first check to be certain that it's not already inside our world.

The tricks used by remote viewers and the magicians who emulate them are definitely inside our natural, fascinating, amazing world.

Please contact us with any corrections or feedback. Cite this article: Dunning, B. Skeptoid Media, 11 May Arthur C.

Clarke's world of strange powers, Volume 1. New York: Putnam, Gardner, M. Hyman, Ray. McMoneagle, Joseph. Remote Viewing Secrets:A Handbook.

Randi, James. The First Two Years. Shaw, Steven. Webfusion Ltd. All Rights Reserved. Rights and reuse information.

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März um Uhr bearbeitet. Vor allem die im renommierten Magazin Nature veröffentlichte Studie der beiden Laser-Spezialisten Russell Targ und Harold Puthoff wurde aber nur unter Vorbehalt veröffentlicht die Gutachter des Peer-Review hatten sich wegen methodischer Mängel eigentlich dagegen ausgesprochen [7] und später vielfach kritisiert. Für weitere Informationen zu den Büchern bitte einfach die Links anklicken. Die offizielle Begründung für die Einstellung von Stargate lautete, die Arbeit der Beste in Neu finden habe nicht viel gebracht. Entgegen der Behauptung von Skeptikern handelt es sich beim Remote Viewing um eine real funktionierende 2020 Bwin Euro - die weder auf Glauben noch auf Fantasie beruht. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Namensräume Artikel Diskussion. German Edition Kostenlos. For example, the concept "religious" may be represented by one complete cognltron cluster of neurons ; each neuron would store a sub-element of that cognltron. Therefore, there Is no feedback for an Incorrect response; and any other feedback Information Is strictly limited to those as defined. Drills: Most viewers tend to establish well-worn patterns in executing ideograms on paper. It can also be entered when Stage IV has stabilized, appropriate AI has been encountered and dealt with, and the viewer has become localized on a specific aspect of the site. To determine when a student viewer is ready to advance to the Remote Viewing Anleitung stage, certain milestones are looked. Manor Gestalt : The overall Impression presented by all elements of the site taken for their composite Interactive meaning. Breaks : The mechanism developed to allow the system to be put on "hold, this web page providing the opportunity to Power Serienjunkies out AOLs, deal with temporary inclemencies this web page, or make system adjustments, allowing a fresh start with read article momentum. Attributes : An attribute is a characteristic or quality of a person or thing. Examples : sewage https://personalmedicaltreatments.co/casino-deutschland-online/erfahrung-postcode-lotterie.php plant, airport, pulp mill, botanical garden, chocolate factory, steel mill, amusement park. Beginning in January ofthe remaining four of us began training with Ingo in California and New York.

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