The Magic of RV sessions
So the start – cool down.
I always kick in a playlist specially prepared on my PC in Winamp. This comprises of classical music, to be exact classical chill out – with themes from many great films that fill the air with haunting etheric melodies like the theme from Traffic. Now I chose or actually settled on classical music as it tended to keep a soft but steady tonal range and it flowed. I don’t have nay music with voices or singing as I don’t want words to filter into my subconscious. Unlike a lot of viewers I do play music through the entire session, although I do turn the sound right down when the real work actually starts.
So now the mood is set I close my eyes and try to clam my hectic mind. First its hard, projects from work and daily problems whiz past in a washing machine spin of busy noise.To dispel this I form an old suitcase in my mind and one by one I grab each of these busy thoughts by the scruff of the neck and fling them protesting into the suitcase. When they are all in there I slam the lid and kick the suitcase into touch – this is now my time.
I now hear the music and in the darkness of my closed vision I try to focus on the notes as they snake through the mist of my mind. As I do this I can feel my breathing, I purposely take long deep breaths and as I breathe out I release then tension from my muscles and they scurry away like little beetles as my shoulders and body position shift with each breath making me shirk in size within the chair.
Now it’s just a case of waiting and focusing inwards on the space. After an undermined period of time, when it feels right I start to make progression towards slightly withdrawing from the semi meditative state before I wander and end up in deep meditation. I know I want to start viewing soon so I start to affirmative and dialogue with my subconscious. I thank it – yes you heard me I thank my subconscious for the work to date. I then ask if we could just do a bit better than the last time, that I have a target XXXX-4444 and that I really do need to solve this and describe the target as best I can. I affirm;
‘Im a remote viewer, and by being so I can travel anywhere in time and space. Today I will do so to the target XXXX-4444 for (John Doe) let’s make this a good one and get the information they need’.
I then open my eyes, adjust to the intensity of the light, shuffle my stack of gleaming virgin paper, and begin.
First I should mention I practice a form of viewing which is a loose CRV – so Im afraid I can only describe this style.
Stage1: dancing with the devil
I love stage 1, I respect stage1, me and stage 1 are like this (tries to show fingers entwined). I love the beauty and simplicity of a beautifully formed and probed ideogram. To me when I see an ideogram on paper it feels like I have danced with the signal line - it feels like the psychic data has swirled and traced a route on the paper, a pure route to the soul of the target.
When I probe the ideograms the data just feels so right, like the innocence you feel from a child, uncorrupted. So Ideograms for me are fleeting momentary glimpses of raw simplicity. After the ideogram, and the initial tender probe for its basic form I then move on to more detailed information. It’s like dating – you ask the girl for a date – you dance a little then you try to find out a little more detail.
This is where you can probe the ideogram for stage2 data. Unlike a first date, you touch or probe the ideogram and ask
- ‘what do you feel like?’
- ‘What textures, temperatures and colours do I feel from you?’
Then the dimensional data comes in. Quickly before you realise it, your writing words like;
Tall, solid, heavy, curved, central…
Your mind strains at wanting to complete those clusters, you fell a yearning to open the floodgate right there and then and let a whole stream of data rush through. But following what I have been taught, I know this heralds a move to stage3, so it’s off the stage3 I go.
Stage3 - freedom!
I start stage 3 as I have been taught by writing the page number; the stage number at the top and a column for AOL’s or breaks down the right hand side of the page. All the time expectant in my anticipation to draw some lines. To make some movements – the paper feels like it is flirting with me, taunting me.
I quickly scribble the target coordinate, put the pen on the paper and let my arm do just want it wants to. It took me years to get this part right, many times when learning I felt compelled to force or direct my movements, to try to kick start the sketching, I mean Im an artist god damn it, I should be an RV Picasso by now! There was the problem! I was trying too hard, too hard to make sense of the sketches and too hard to make them look like Joe M’s. It took years, but one day a part of me gave in a resigned, and everything worked after this. I guess I just came to trust my feelings and to just let it flow. And to realise that whatever flowed - was right!
So now I just put the pen on the paper and allow the movement to happen and it does within a second, if you wait longer than this it’s forced and not real. I work like this for 3-6 pages. All filled with shapes, lines and squiggles. Some seem to have form and meaning and others well just don’t know – but this is alright, this is the way its meant to be.
To get more perspective on the target I move myself around. I do this by writing a cue on the paper – ‘move 150ft above the target and describe in detail’. Then Bang! New shapes form from my arm as it spontaneously sketches god knows what, but internally I can feel the buzz and feeling of data from the new cue as it flows through my body into the pen.
I may move myself to other parts of the target, its all about feelings, sometimes you feel like you need to move, to look around and sometimes you don’t. I also probe the sketches. If anything looks interesting I’ll probe and touch it with the pen and like stage 2 I’ll ask questions like ‘what does his feel like? I will only probe for stage 2 sensory data, and always mindful to describe and not to identify, and if any pesky little AOL critters in the form of guesses form, I quickly scribble them in the AOL column put down my pen thank my subconscious for the data, I pick up the pen and then move on.
Overall stage3 is the start of freedom within CRV. CRV likes to keep you locked in a set of methods that try to restrain AOL’s. Within stage 3 you start to feel a freedom, you can move, you can and should spread your RV wings and look around. To be honest if you ever don’t get enough data form a target it’s only because you haven’t got up off your psychic passenger ass and looked around enough, the responsibility and control is all yours. When I feel dry, and the sketches feel like they don’t want to come, I know its time to move to the next stage.
Stage4 (The matrix - and not a sign of Neo)
I also love stage 4.The possibilities within this small sectioned out page seem limitless. I know that I am a god here! I control the flow of data and only I can decide what to record, and what to probe. I now some people don’t like the rigid, lined form of a matrix with its uniformed controlling columns. I just see them as veins, and my data as the blood carried in the veins that will bring life to the target.
I generally start off with stage2 impressions, basic sensory data to start the flow. So I put my pen in the column marked S2, and I ask what the target feels like. Without thinking, instantaneously I know! Clusters of words spiral into my mind almost faster than I can write. My hand tries to keep up as I write the small one word impressions as my eyes continuously scan the matrix for the right column to add the data. Within seconds I have a snakes and ladders stream of data that has left a snail like trail as it moved across and down the page leaving words scattered in the various columns along the way;
- AOL – walls
Stage5 - mind mapping
Ok Im a bit of a bandit here and this is where CRV and I part company. I tried to use the CRV way of doing stage5 but found it cumbersome and restrictive. Stage 5 is for taking data and impressions that you have already written/collected and then breaking these down for their smaller parts to see why we got the larger part – this is very good for AOL’s/Guesses. To find the real data that caused the guess or AOL.
For example we could break down the word military into:
Well the proper way of doing it has all these technical labels like subjects, emanations, topics, blah, blah blah. I now use a simplified approach – one called, mind mapping!
I take the word I want to break down and find out more from. I then write it in the centre of my paper and then like spider tendrils I draw arms shooting out form it so sub elements of the word. These create even more to form, and before you know it the original word is surrounded by a stream of conscious impression that you hadn’t even thought of when you initially wrote the word but now make complete sense and looking back on all your other data some of it feel just right!
Summaries...gotta have em!
OK this is the hard bit for me. I’ve just spent well over an hour in session so I feel like coming out now. But I need a summary – every session needs a summary! So I force myself to spend another twenty minutes. I read through my entire session, and as I do so the data somehow seems to start to gel together into a story that unfolds with each stage like the chapters on a book. After I read it all, I reread it then one by one I write all the data into small sentences.
- There is a structure.
- The structure is hard, tall, multi levelled, and it is a workplace.
It’s finished – a perfect little session. All in all twenty pages with a summary. All stacked in a neat little pile in front of me. Every time I see this Im excited, its all still a mystery, did I do it this time? What was that thing I drew? Will I have my martinis?
For now I will have to wait as I pdf the session and send it out across the internet to the tasker and my ominous wait for the feedback that still, after all these years pulls at me like I’m a crack whore clawing for my next fix.
Lets hope the wait wont be long!