COORDINATE REMOTE VIEWING
"A" Component: The "feeling/motion" component of the ideogram. The "feeling/motion" is essentially the impression of the physical consistency (hard, soft, solid, fluid, gaseous, etc.) and contour/shape/motion of the site. For example, the monitor has selected, unknown to the viewer, a mountain as the trainee's site. At the iteration of the coordinate, the trainee produces an appropriate ideogram, and responds verbally, at the same time as he writes it: "Rising up, peak, down." This is the "motion" sensation he experienced as his pen produced the ideogram. He then says "solid," having experienced the site as being solid as opposed to fluid or airy. This is the "feeling" component of the Stage 1 process. There are at least five possible types of feelings: solidity, liquidity, energetic, airiness (that is, where there is more air space than anything else, such as some suspension bridges might manifest), and temperature. Other feeling descriptors are possible, but encountered only in rare circumstances and connected with unusual sites. These components and how they are expressed in structure will be discussed more fully below. Though in discussions of theory this aspect is usually address as "feeling/motion," it will normally be the case in actual session work that the motion aspect is decoded first with the feeling portion coming second.
Overlay"): The analytic response of the viewer's
mind to signal line input. An AOL is usually wrong,
especially in early stages, but often does possess valid
elements of the site that are contained in the signal
line; hence, a light house may produce an AOL of
"factory chimney" because of its tall,
cylindrical shape. AOLs may be recognized in several
ways. First, if there is a comparator present ("it
looks like...", "it's sort of...", etc.)
the information present will almost inevitably be an AOL,
and should always be treated as one. Secondly, a mental
image that is sharp, clear, and static--that is, there is
no motion present in it, and in fact it appears virtually
to be a mental photograph of the site--is also certainly
AOL. Hesitation in production of the
"B" component in Stage I coordinate remote
viewing, or a response that is out of structure anywhere
in the system are also generally sure indicators
that AOL is present. Finally, the monitor or viewer can
frequently detect AOL by the inflection of the viewer's
voice or other micro behaviors. Data delivered as a question rather
than a statement should be recognized as usually being
AOL Drive: Although mentioned before, AOL Drive becomes a serious concern beginning in Stage III. It occurs when the viewer's system is caught up in an AOL to the extent that the viewer at least temporarily believes he is on the signal line, even though he is not. When two or more similar AOLs are observed in close proximity, AOL drive should be suspected. AOL drive is indicated by one or more of the following: repeating signals; signal line ending in blackness; peculiar (for that particular viewer) participation in the signal line; and/or peacocking. Causes for AOL drive include accepting a false "B" component in Stage I; or accepting a false sketch or undeclared AOL in Stage III. Undeclared AOLs can spawn AOL drive in all other stages beyond Stage III as well. Once it is realized that AOL drive is present, the viewer should take an "AOL/D Break" (as discussed under STRUCTURE), then review his data to determine at what point he accepted the AOL as legitimate data. After a sufficient break the viewer should resume the session with the data obtained before the AOL drive began. Listed below are two subspecies of AOL drive.
Aesthetic: Sensitivity of response to given site.
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.
Attributes: An attribute is a characteristic or quality of a person or thing. "Attributes" applies to those characteristics of the site that contributed to cognitron formation and the aforementioned viewer response: "quiet," "dimly lit," "echoing," "large," etc.
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.
"B" Component: The first (spontaneous) analytic response to the ideogram and "A" component.
Breaks: The mechanism
developed to allow the system to be put on "hold,"
providing the opportunity to flush out AOLs, deal with
temporary inclemencies, or make system adjustments,
allowing a fresh start with new momentum.
There are seven types of breaks:
Coding/Encoding/Decoding: The information conveyed on the signal line is "encoded," that is translated into an information system (a code) allowing data to be "transmitted" by the signal line. 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.
Coordinate Remote Viewing (CRV): The process of remote viewing using geographic coordinates for cueing or prompting.
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.
Dimensionals: "Dimensionals" have a broader meaning in Stage IV than in Stage III. In Stage IV, more detailed and complex dimensionals can be expected and are now considered to be in structure and therefore more reliable. "Spired," "twisted," "edged," "partitioned," etc. are only a few examples.
Drawing: The act of representing something by line, etc.
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.
Evoking: (Evoke: "to call forth or up; to summon; to call forth a response; elicit.") Iteration of the coordinate or alternate prompting method is the mechanism which "evokes" the signal line, calling it up, causing it to impinge on the autonomic nervous system and unconsciousness for transmittal through the viewer and on to objectification (discussed at length in STRUCTURE).
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"
Gestalt: A unified whole; a configuration, pattern, or organized field having specific properties that cannot be derived from the summation of its component parts.
I/A/B Sequence: The core of all CRV structure, the "I/A/B" sequence is the fundamental element of Stage I, which is itself in turn the foundation for site acquisition and further site detection and decoding in subsequent CRV stages. The sequence is composed of an ideogram (the "I"), which is a spontaneous graphic representation of the site's major gestalt; the "A" component or "feeling/motion" involved in the ideogram; and the "B" component, or first analytic response to the signal line. (A full discussion may be found in the Stage I section below.)
Idea: Mental conception; a vague impression; a hazy perception; a model or archetype.
Ideogram: The "I" component of the I/A/B sequence. The ideogram is the spontaneous graphic representation of the major gestalt, manifested by the motion of the viewer's pen on paper, which motion is produced by the impingement of the signal line on the autonomic nervous system and the reflexive transmission of the resultant nervous energy to the muscles of the viewer's hand and arm. The objectified ideogram has no "scale;" that is, the size of the ideogram relative to the paper seems to have no relevance to the actual size of any component at the site.
Impact: A striking together; changes, moods, emotions, sometimes very gross, but may be very weak or very subtle.
Inclemencies: Personal considerations that might degrade or even preclude psychic functioning. Muscle pains, colds, allergies, menstrual cramps, hangovers, mental and emotional stress, etc., could cause increased difficulty to the viewer in accessing the signal line, but could be "worked through," and ultimately are only minor nuisances. 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's functioning if not eliminated from the system through objectification (see below). 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.
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.; i.e., "governmental," "foreign," "medical," "church," "administrative," "business," "data-processing," "museum," "library," etc.
Matrix: Something within which something else originates or takes form or develops. A place or point of origin or growth.
Mobility: The state or quality of being mobile.
Monitor: The individual who assists the viewer in a remote viewing session. The monitor provides the coordinate, observes the viewer to help insure he stays in proper structure (discussed below), records relevant session information, provides appropriate feedback when required, and provides objective analytic support to the viewer as necessary. The monitor plays an especially important role in training beginning viewers.
Motion: The act or process of moving.
Objects: An object is a thing that can be seen or touched. "Objects" can be understood as those physical items present at the site that helped cause the cognitron to form in the viewer's mind and hence prompt his response of "religious;" i.e., "robes," "candles," "incense," etc.
Objectification: The act of physically saying out loud and writing down information. In this methodology, objectification 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, objectification "gives reality" to the signal line and the information it conveys. Finally, objectification allows non-signal line derived material (inclemencies, AOLs, etc.) that might otherwise clutter the system and mask valid signal line data to be expelled.
Perceptible: That which can be grasped mentally through the senses.
Prompt: To incite to move or to action; move or inspire by suggestion.
Remote Viewer: Often referred to in the text simply as "viewer," the remote viewer is a person who employs his mental faculties to perceive and obtain information to which he has no other access and of which he has no previous knowledge concerning persons, places, events, or objects separated from him by time, distance, or other intervening obstacles.
Remote Viewing (RV): The name of a method of psychoenergetic perception. A term coined by SRI-International and defined as "the acquisition and description, by mental means, of information blocked from ordinary perception by distance, shielding or time."
Rendering: Version; translation (often highly detailed).
Self-Correcting Characteristic: The tendency of the ideogram to re-present itself if improperly or incompletely decoded. If at the iteration of the coordinate an ideogram is produced and then decoded with the wrong "A" & "B" components, or not completely decoded, upon the next iteration of the coordinate the same ideogram will appear, thereby informing the viewer that he has made an error somewhere in the procedure. 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., where nothing else but one single aspect is present.
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.
Signal: Something that incites into action; an immediate cause or impulse. 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.
Sketch: To draw the general outline without much detail; to describe the principle points (idea) of.
Subjects: "Subject" is defined as "something dealt with in a discussion, study, etc.," "Subjects" are emanations that might serve a nominative function in describing the site, or be abstract intangibles, or they could be more specific terms dealing with function, purpose, nature, activities, inhabitants, etc., of the site: in the above example, "reverence," "worship," "respect," "harmonious chanting," etc.
Tactile: Of, pertaining to, endowed with, or affecting the sense of touch. Perceptible to the touch; capable of being touched; tangible.
Tangibles: Objects or characteristics at the site which have solid, "touchable" impact on the perceptions of the viewer, i.e., tables, chairs, tanks, liquids, trees, buildings, intense smells, noises, colors, temperatures, machinery, etc.
Topics: "Topic" is defined as "a subject of discourse or of a treatise; a theme for discussion." Closely related to "subjects," "topics" often prove to be sub-elements of one or more of the subjects already listed, and frequently are quite specific: "mass," "Catholic," "priest," "communion," and so forth. An interesting phenomenon to be here considered is that just as one of the subjects encountered may produce several topics, a topic itself may in turn be considered as a subject and produce topics of its own. This construction appears to be very hierarchical and "fractalized," with larger cognitrons being subdivided into smaller ones, which in turn can be further divided, and so on. In fact, any emanation thus "broken out," or "stage-fived" can itself often be further "stage-fived," and subdivided into its own object/attribute/subject/topic categories.
Track: To trace by means of vestiges, evidence, etc.; to follow with a line.
Vision: One of the faculties of the sensorum, connected to the visual senses out of which the brain constructs an image.
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.
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