|True skepticism does not begin by being anti-anything. The processes of open consideration and examination (i.e., research) will ultimately establish whether something exists or not. ~ Ingo Swann|
The Six Stages of Controlled Remote Viewing
Controlled remote viewing (CRV) is broken down into six stages (other stages beyond the sixth have been experimented with, but never formally established). Below is a description of each stage listed in order. This information is an expansion of the description found in the original military "Controlled Remote Viewing" manual compiled and drafted by Paul H. Smith.
Stage 1: Begins the session. Stage 1 is initiated when the viewer writes down a "coordinate" or tasking number provided by the tasker (the person who decides what the target will be). In this stage the viewer perceives and describes the basic nature of the target -- structure, water, land, event, living thing, etc. (If the target were the Eiffel Tower, for example, the viewer might merely detect that the target involved a "structure" or "monument.")
Stage 2: This stage answers the question "What would I [the viewer] have as sensory experiences were I physically at the target?" Such things as smells, colors, sounds, tastes, qualities of light, smells, textures, and so on are able to be perceived. The viewer may also begin to detect some dimensional qualities of the target site. (In the case of the Eiffel Tower target, the viewer might experience "black, metallic, flaky, rusty taste, echoing, chirping, rushing, honking, windy, bumpy, food odors, and so on.)
Stage 3: As the viewer nears the end of Stage 2, perceptions of how the target fits into dimensional space become more pronounced. Whether it is tall or short, angled or rounded, hollow or dense, or a combination of these elements or others start to come in. it is at this point that the viewer emerges into Stage 3, where an increased awareness of the dimensional characteristics of the target is available, and the viewer can sketch his or her impressions. This is the same principle as "a picture is worth a thousand words" -- impressions or dimensional relationshipsthat are hard to express verbally are often more easily captured by a quick drawing or sketch on the paper. If the target were the Eiffel Tower, the viewer might describe it as being tall, curving up, airy, cris-crossing, and then sketch cris-crossing elements and even draw a tall, tapering structure. Often, these sketches are surprisingly accurate, as can be seen here.
Stage 4: Once Stage 3 has reached the point that the concepts being perceived are beyond what basic word descriptors and sketches can capture, it is time to move into Stage 4. In this stage, viewers produce what Ingo Swann called "qualitative mental percepts," or ESP impressions that involve concepts that are abstract or complex. So for the Eiffel Tower target the viewer might perceive aspects that were "foreign," "commemorative," "monument," "tourism," "in an urban, yet park-like setting," and so on.
Stage 5: This stage is significantly different than the other stages, in that it is not a "live" stage. Instead, it is "off-line." The viewer attempts to pull out of his or her subconscious data bits that were deposited there while accessing the remote viewing "signal-line" (or input source) from preceding stages. The viewer focuses on a specific concept or item perceived during Stage 4, and can mentally retrieve data from four categories of information: Objects, atrritubes, subjects, and topics.
In our Eiffel Tower example, for instance, from the concept "monument" a competent remote viewer might be able to discover "girders," "plaques," "signs," and so on under the objects category; in the attributes category, "tall," substantial," "old," "metallic"; in the subjects category, "honoring," "celebrating," "history," "national pride"; and under the topics category "fund-raising," "advertising," "educational," etc.
Stage 5 may be engaged at any time later in Stage 4 or after, and at any time during Stage 6; or it may be dispensed with entirely if no need exists to activate it.
Stage 6: The culmination of the session is Stage 6. In this stage, the viewer has access to all the tools of preceding stages (sketching, word-descriptions, Stage 5 components, etc.), but in addition is able to use three-dimensional modeling techniques to render soometimes impressive "sculptures" of the target from the ESP data he or she is mentally receiving. By becoming kinesthetically engaged in the modeling process, the viewer's mind is freed up and encouraged to obtain increasing amounts of data from the target. In Stage 6 it is also possible to shift perspective through time as well.
A full remote viewing session involves all six stages, each merging into the next until the session is done. Full sessions can last an hour to an hour and a half or more, depending on how well the information flows through the viewer. Sessions are usually done at least double-blind, with the exception of training sessions, where the monitor knows what the target is so that he or she can better help the viewer learn the process.
|Copyright -- 2011 by Paul Smith|
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