HOMEWORK!!! For CRV

Coordinates for those who want to practice:

3476 6761

First Class Target

Sorry it took me awhile to post this. Here’s the 1st class target. Don’t worry about being close or about your data matching this target. We really didn’t get to do a proper session. This was just about understanding the structure and protocols – but thought it might be fun for you to see!

Remote Viewing Class Notes

If you find yourself at any point having an idea – like you dig into the ideogram and you
keep feeling that you know what it is like the Eiffel tower, the ocean, a pier, a dog, a man with a
dog – anything that is definable – YOU MUST WRITE THIS DOWN as an AOL (Analytic
Overlay) purge it from your mind and move on. This is hugely important and in fact if you can
not get this out of your head it is advised that you take a break, put your pen down. Close your
eyes, re-orient yourself or get up and walk around the room and come back and do this. You will
write BREAK on your paper if you do this and then when you’re ready to restart you will write
the word RESUME. Go ahead and pick up where you left off. Try not to focus on these AOLs
or give them too much energy, especially early on. IF you become confused or overwhelmed, TAKE A BREAK. Put your pen down, get up and walk around. Then sit for a moment, clear
your mind and resume. Whenever you are taking a break write BREAK on you paper and then
RESUME before you start again. Cooling off – Remote Viewing speak for meditation. It is recommended that you spend
1/2 in meditation (any kind will do) before beginning your session. Write your name, date and ST and ET on the far right side of your paper. Under this you
will declare any Advanced Visuals (AV) and Personal Inclemency(s) (PI)
Ideogram – the scribble line you make after writing down the sequence of numbers.

Part 1 – Decoding the Ideogram

Probing the ideogram – start with retracing the ideogram from the base or start of the
line. Section A – keep to these basic probing ideas: solidity, liquidity, energetic, airiness, temperature. You can do this by asking yourself, “Is it hot or cold?””Is it solid or open?’ how
does the energy coming off the ideogram feel. Don’t think. Don’t look at the ideogram drawing, feel into it while asking these questions. “Is there liquid?” “Is there energy or an energy source
in the image?” “Is there energy” “Does it feel open or airy?” These are just examples of what
you will be asking yourself as you probe, retrace the ideogram scribble you made. Stick to
simple adjectives like, liquid, spinning, turning right, curvy, curving, hot, cold, movement, dropping, peaking, sharp, soft, etc. Section B – Probe don’t trace! Start from left to right, close to the start of the ideogram. This time you are going to dig into the ideogram with the tip of your pen. Feeling into the
ideogram as you do. Ask yourself one question is it: NATURAL or MANMADE? Write your
answer in B as one or the other. Choose only one. As you go along you may feel there are both
but just pick one to start. This may change as you continue to probe, don’t sweat it!
Section C -Probe again – starting from left to right. You will be asking yourself only
whether you feel the ideogram is: Mountain, Land, Water, Land-Water Interface, Structure or
Life Form.

(If for some reason the RV starts probing but doesn’t feel anything after a few tries they
are to write on the right side of the paper – No B or No A or No C where the information would
normally be placed.)

REMEMBER TO NUMBER YOUR PAGES ON THE UPPER RIGHT HAND SIDE
OF YOUR PAPER

When all of Stage 1 is complete, drop down and write:
S2 in the center of your page. Draw a line underneath. Probe and feel into your ideogram and write down the center of your page a list of
descriptors regarding the ideogram. These descriptors should be:
Colors
Textures
Tastes
Temperatures
Sounds
Dimensional Data -Vertical, Horizontal, Diagonal, Mass, Arch, Cure, Column, Space (or
Density)
Energetic Data – Heat, vibration, force, stillness, presence, etc. The Left Side of the Paper – Draw your visuals. After a sketch is made – probe and label

The Left Side of the Paper – Draw your visuals. After a sketch is made – probe and label
information you receive. These sketches can be simple dots or grids, just probe and get info as
you go. If nothing is coming when you probe the image, continue on. On the Right Side of the Paper – Write all AOLs with a brief description. Any and all
strings of information apply to this for example, “smell of sea air,” or “spinning metal wheel.” Anything that is more than an impression, a feeling, a single descriptor must be claimed as an
AOL – later these AOLs can become AOL signal lines. So just declare them and let them go, purge them onto the paper, all and everything without thinking. Also remember if you need to take a BREAK for any reason, declare it, write it on the
right hand side of your page. When you’re ready also declare that you have RESUME(d.)
Movement Brackets: You can move yourself up, down, inside, under, etc. into or around
the target. Example: [Move up 100 feet] [Move down 500 feet] [Right 50 feet] etc.
If you end up moving yourself out of the target – Take the coordinates again and begin
the session from a new position relative to the theoretical center of the mass principle element of
the gestalt. Meaning take the target coordinates again, make an ideogram and use that to begin
probing again. AI (Aesthetic Impact) and EI (Emotional Impact) can come through, bleeding through

AI (Aesthetic Impact) and EI (Emotional Impact) can come through, bleeding through
into this stage. These are pieces of information that should come later but if they do come in this
stage – ON THE RIGHT SIDE of your PAPER write AI and then whatever the AI or EI is. Example:
AI: Feeling put upon – Overwhelmed or
AI: feels enormous – feeling small
Or EI: Agitated, upset, angry
Bi-location can also occur – this will be a physical feeling. For example you are viewing
a nuclear site and start to feel nauseous or viewing an explosion and feel pain in your head. If
you feel a physical sensation starting to take over your body or in your body. This is bi-location
and you need to take a break. Put your pen down, walk around the room and take a little break. Of course, declare your break and then declare when you resume.
(Move to stage 3 when the visual data becomes more intensive and the verbal data starts
repeating or there’s a feeling of a flood of info getting ready to come out.)
Before you start Stage 3 it must be for one of these reasons:

1. The signal line shut down and after repeated movements within the target, the flow of
   available data continued to diminish.
2. The verbal and visual data in Stage 2 began to repeat itself even after repeated
   movements in the sessions or
3. You noticed that the verbal data in Stage 2 was diminishing and the visual data was
   increasing.

S3 Starts a NEW PAGE

Take a CLEAN SHEET and write S3
This is an entirely visual stage. Draw and probe the drawings. Declare all and any AOLs. Take a break if bi-location happens. Note everything, probe the drawings, write and label all
your images. Let it flow. If you have to you can declare stage 3 1/2 – there you can purge AOLs. If there is too much verbal information and you feel you need to go back to S2 – you can. S4 is a verbally driven Stage like stage 2. The focus of this stage is different however. It
is: Intangible, emotional and aesthetic data rather than textures, contour, colors and things of that
nature from stage 2. The focus of this stage is to go into the target past the physical aspects. Set up your page like this:
S4

S2 D AD ED T I AOL AOL/S

(info from
Stage 2)
(Drawings)
(Aesthetic
Data)
(Emotional
Data)
(Tangible
Data)
(Intangible
Data)
(Analytical
Overlay)
(Analytical
Overlay – Signal Line)
In this stage you can’t take breaks, just breathe if you feel overwhelmed. The big
difference in stage 5 is the focus on intangibles. This stage is all about unveiling the information
that has already been received from contact with the target through the ideogram. This stage is
dedicated to getting the information out of your physical brain – this is done through sorting
through the intangibles from earlier stages. Go through your words in stage 4 and stage 2 and look for intangible words like: pride, nationalism, certainty, noble, amazing, entertaining, inspiring, etc. Any word that is abstract not
tangible. If there are no intangibles then go through your AOLs and AOL/signals. You will take 2 pieces of scratch paper label them #1 and #2
Write down all the intangibles like this on your paper:
Pride
Community
Systems
Patriotic
Willful
Masterful
Amazing
Beautiful
Etc. After writing all of your intangibles on scratch paper #1 and #2 you will look for the
juiciest word. There are many ways to do that. Close your eyes and feel which one has the most
heat. The one that pops out. The one you find the most intriguing or the one you think is the
best. You will then take your word and work with it. Write at the top of your page in the middle:

S5
On the left side write your chosen word and under it DATA? A line and then you will
basically free associate, whatever comes to your mind without thinking. Do not dwell or think or
recall, just word vomit. If you find yourself pausing and looking for a word, clear your mind and
write the word down again , the probing type and DATA? On your page and start again. Set
your intention as you ask the question DATA – “I am looking for data about the attributes of (the
word you choose).” The categories of intention you should ask your unconscious to purge each
time you write DATA? Set one intention and stick with it. These areas are:
OBJECTS, ATTRIBUTES, SUBJECTS, NATURE, PURPOSE, FUNCTION, ACTIVITIES. So in short you have your word from your list. Let’s use Systems. When you write down
(on the far right of your paper) DATA? You set the intention – “I want to get all the information
concerning objects in regard to Systems.” Or “I want to get all the data about Attributes in the
word Systems.” So each time you write down data and have a string of words under it, it will be
probing, purging all the unconscious data having to do with that word that was imprinted on probing, purging all the unconscious data having to do with that word that was imprinted on
your brain as you were tuned into the signal line/target. You will write the word, followed by the type of probe, then the word DATA?

Here’s what your paper will look like. S5

YOUR WORD
Objects
DATA?
Platforms (example)
Wires (example)
Electrical grid (example)
Cones (example)
Dishes (example)
bars (example)

YOUR WORD
Attributes
DATA?
Energy (example)
Generating (example)
Movement (example)
Corporate (example)
business (example)

Continue on with all other categories above in the above format

S6: This is when the aperture of information is at it’s widest after keeping it controlled in the
other stages. Take 2 sheets of paper – You will work with both sheets of paper at the same time. Use
the last page number from S5 – for example say the last page of your S5 was 40, these two
sheets of paper would be 41 and 42. All subsequent pages will be numbered 41a, 41b, 41c, etc
and 42a, 42b, 42c etc. The VERBAL sensory information will be on the left and the VISUAL
sensory data will be on the right. So you will set the two pieces of paper, one on the left, one on
the right with all the visual data being handled on the right (42, 43a, etc.) and all the verbal data
on the left (41, 41a, 41b etc.) You will go back and forth between these two pieced of paper
developing your drawings and your verbal information, letting each side inform the other. You
may still get AOLs and EIs and bi-location. Use the right hand side of either of the 2 pages to
declare your breaks, AOLs, etc. Let yourself go, just flow with it, don’t think about it too much, just go with the flow. Right hand paper: *41, 41a, 41b- example only LEFT hand paper: Drawings
only *42, 42a ,42b -example
S6

LEFT PAPER SHOULD BE SET UP LIKE IT IS IN S4: THE RIGHT PAPER IS FOR DRAWING
(see below)

S2 D AD ED T I AOL AOL/S
(info from
Stage 2)
(Drawings)
(Aesthetic
Data)
(Emotional
Data)
(Tangible
Data)
(Intangible
Data)
(Analytical
Overlay)
(Analytical
Overlay – Signal Line)

SUMMARY:
You can use the template in the book to start with after you look through your data and
find the repeating themes, words, etc. You can refer to the book to see how it is suggested that
you organize your information. Look through and make lists of the repeating ideas and themes. You are going to write 2 paragraphs of summary, the first analytical, the second narrative. Make
sure to include and identify AOLs for example, I had the sense of a tall building and had an aol
the Sears Tower in Chicago. As you go through your data and formulate and then write your
summary, new information may come together in your mind as you will still be in touch with the
signal li