Remote Viewing Anleitung

Remote Viewing Anleitung Dokumentation teilen

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: tokenpartner.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

Die Spielregel beim Remote Viewing lautet jedoch: Was nicht auf dem Papier daran, dass Ihnen Remote Viewing gelingt, wenn Sie dieser Anleitung folgen. 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: tokenpartner.co: Kindle-Shop.

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.

Some degree of vertical spacing can be expected between such clusters, an Indication that each of these clusters represents a specific portion of the site.

Entries In a properly fllled-ln matrix will tend to move slantwise down the page from the upper left to lower right with some amount of moving back and forth from column to column.

Stage lis and dlmenslonals retain their Importance In site definition, while AOLs and AIs, once they have been recognized and objectified as such, so not require a major Interruption In the flow of the signal line as was the case In previous stages.

EI tends to manifest Itself comparatively more slowly than Information In other categories. If people are present, for example, EI pertaining to them may be effectively retrieved by placing the pen In the EI column of the matrix.

Several moments of subsequent waiting may then be required for the signal to build and deliver Its available Information. Tangibles will frequently produce Immediate sketches or Ideograms, which lead to yet more Intimate contact with the signal line.

Some degree of control over the order of Information retrieval from the signal line can be exercised by the viewer, determined by which column he chooses to set his pen to paper.

This acts as a prompting mechanism to Induce the signal line to provide Information pertinent to the column selected.

For example, If more Intangibles relating to the site are desired, the pen may be placed In the "I" column to Induce the extraction of Intangible Information from the signal line.

The Stage IV process can be very rapid, and care must be taken to accurately decode and record the data as It comes.

However, If as sometimes happens the signal flow should slow, It Is recommended that resting the pen on paper In the "EI" column may enhance retrieval of "EI" Information, which In turn may potentially stimulate further signal line activity and acquisition.

I like it here. Concept: Stage V Is unique among the remote viewing stages thus far discussed in that it does not rely on a direct link to the signal line to obtain the Information reported.

Instead, data Is derived through accessing the Information already available below the llmlnal threshold In the brain and autonomic nervous system.

This Information Is deposited In earlier stages when the signal line passes through the system and "Imprints" data on the brain by causing cognltrons to form through the rearrangement of the brain r s neuronal clusters Into the appropriate patterns, roughly analogous to what occurs In a computer T s memory storage when It receives a data dump.

Information "stored" In a cognltron can be accessed by a certain prompting methodology. In normal brain functioning, cognltrons are Induced to deliver up the Information they store through some stimulus delivered by the brain, much In the same way as a capacitor In an electronic circuit can be triggered to release Its stored electric charge.

When properly prompted, the Information released consists of sub-elements which together form the complete cognltron.

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.

Hence, the cognltron for "religious" could have neurons storing data for the following elements : "quiet, " "Incense, " "harmonious chanting, " "bowed heads, " "robes, " "candles, " "dimly lit, " "reverence, " "worship, " "respect, " etc.

If attention Is paid to what underlies the concept of "religious" as It Is originally evoked In Stage IV, the sub-elements , which may themselves provide valuable Information far beyond their collective meaning of "religious, " may be broken out and assembled.

These sub-elements as they are brought forth In Stage V are known as "emanations" "emanate" literally defined means, "to Issue from a source, to flow forth, to emit, or to Issue".

Objects: An object Is a thing that can be seen or touched. Attributes : An attribute is a characteristic or quality of a person or thing.

Subjects : "Subject" is defined as "something dealt with in a discussion, study, etc. Topics : "Topic" is defined as "a subject of discourse or of a treatise; a theme for discussion.

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.

Format and Structure: Because extreme caution must be exercised to avoid phrases or promptings that might either induce AOL or otherwise unnecessarily engage the viewer's analytic mental processes, a sort of "hypo-stimulative" type of referral system must be used to "target" the viewer.

This is accomplished by dividing the possible types of emanations obtainable Into four categories: objects, attributes, subjects, and topics, then prompting the release of subllmlnally-held Information by saying and writing "Emanations, " followed only by a question mark.

In actual execution, the Stage V format would look somewhat as follows: religious objects emanations? First Is written the word or concept being broken out.

Directly under It Is the particular category to be considered. Finally comes the word "emanations, " followed by a question mark.

This methodology was developed as the best means of directing a query into the neural "data storage area" of the subconscious without inadvertent "hinting, " suggestion, or engagement of analytic processes.

The word "emanations" represents the sub-elements or component parts of the "religious" cognitron which emerged from the subconscious as a collective concept for these sub-elements.

Because it possesses the combined neural energy of the aforementioned components, during Stage IV the overall cognitron-concept is able to pass into the conscious awareness of the viewer with relative ease.

The sub-elements themselves , however, have insufficient impetus to individually break unaided through the Liminal barrier into the consciousness of the viewer, and must intentionally be invoked through the Stage V process.

It is suspected that the most amount of information will probably be derived from attribute or topic categories, though at times both object and subject headings might provide significant volumes of information.

If, as occasionally may happen, all four categories are prompted and no responses result, it can be supposed that one of two situations exist: the response being stage-fived is either already at its lowest form, or it is really AOL.

Implications: The value of Stage V is readily apparent. Though the sum total of the information obtained quite validly might produce the overall cognitron of "religious" in the context of an RV session, once rendered down to its sub-elements and details the cognitron produces a wealth of additional information of use to the analyst.

Considerations : The process has a few peculiarities and a few cautions to observe. First, one must be aware that not every cognitron necessarily produces responses for every category, and in those that do, some categories are inevitably more heavily represented than others.

In general, the rule is that if the list of words that the viewer produces under the particular category being processed does not flow smoothly, regularly, rapidly, and with obvious spontaneity, the end of accessible information has been reached.

Therefore, if there is a pause after the last word recorded of more than a few seconds, the end of the cluster has probably been reached.

On the other hand, If after the original prompting nothing comes forth spontaneously, there are probably no accessible emanations pertaining to the cognltron being processed In that category.

For example, If the viewer just sits with pen on paper, with nothing to objectify after the viewer has written "religious, " "topics" or other category , and "emanations?

If such a situation should occur either at the beginning of a category or at the end of one more productive, the viewer should either on his own or with encouragement from the monitor declare an end to that particular category and move on to the next.

Usually, the viewer Is Intuitively aware when more valid Information remains to be retrieved and when the end of a cluster has been reached.

To sit too long waiting for more Information If none Is readily available engages the analytic process and encourages the generation of AOL.

The viewer must also be aware that some responses might at one time or another appear In any one or more of the category columns.

One example frequently given Is "warm. Sometimes, the viewer will be busily recording a string of emanations under a particular category when suddenly emanations from another category Intrude.

For example: religious objects emanations? Notice that a few "object" words come through at first, to be replaced spontaneously by words more appropriate to the "attribute" category.

This Is known as a "switch" — a point In a Stage V chain where a sudden switch Is made from one category to another. There are several possible causes for this.

The first Is that the viewer has In a sense skipped down a level In detail, and proceeds to provide sub-elements of Information for the last valid Item In the category — In the above example the words quiet, long, etc.

To deal with a switch, one must task the system after analyzing what has happened using an alternative category suggest by the trend In the data line.

Topics and Subjects, on the other hand, are "subjective, Informational elements, " and require special attention to avoid AOL contamination.

AOL too may lend Itself to being " stage- flved. For the purposes of Stage V, these kernels of valid site-Information are called "prior emanations.

The prior emanations that result from " stage- flvlng" an AOL tend to be a mixture of the four Stave V categories, selected words of which could presumably further be " stage- flved.

Concept: Stage VI Involves the three-dimensional modeling of the site. Stage VI modeling Is a kinesthetic activity which appears to both quench the desire to produce AOL and act as a prompt to produce further Information relating to the site — Including not just the physical aspects being modeled, but other elements not directly associated with the modeling Itself.

Functions of Modeling: Stage VI, modeling, has two functions: 1. Not only has the object moved In space, It has also taken time to make the move.

Everything In the physical universe Is because of kinesthetic activity. RV Modality: There are two types of kinesthetic activities In remote viewing — the detect mode and the decode mode.

In Stage VI this mode Is represented by 3-dlmenslonal model constructing. Decode kinesthetics , on the other hand, are objectlflcatlons which act as responses to the stimuli of the detect mode.

Stage V Is neither detect nor decode as Stage V Information comes from cognltrons formed subconsciously rather than from the signal line.

Discussion: According to theory, as the viewer proceeds through the earlier Stages, his contact with the site Is enhanced In quality and Increased In extent.

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.

Session Mechanics: As soon as the decision Is made to proceed Into Stage VI the viewer places In front of him the modeling material usually clay that has been kept nearby since the start of the session.

As the viewer proceeds to manipulate the modeling material Into the form s , dimensions, and relationships that "feel " right to him, he maintains as his concentrated effort the perception of the site details that are freed to emerge Into his consciousness by the kinesthetic experience of the modeling process.

These site data are recorded In their appropriate columns on the matrix as the Stage VI portion of the session continues.

During the modeling process, the viewer must : a Focus his awareness on the signal line not the model and the Information which will begin to slow as the model Is constructed, and; b Objectify that Information within the prepared Stage VI Matrix.

The viewer must keep In mind that the model does not have to be a precise or accurate rendering. It feels very familiar.

One church, which is old and made of hand-hewn stones, has been damaged by war. There is a lot of rubble around it. The new church is very modern in design.

Both are located in an area with a cosmopolitan atmosphere and an international flavor. The older church as been left as a monument to remind the people of today of the war atrocities of the past.

The new church now serves the same purpose as the older church did at one time — a house of worship. The older church, demolished by bombing during World War II, has been left to stand as a monument and a reminder to all who visit.

For example, the monitor has selected, unknown to the viewer, a mountain as the trainee 1 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 "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.

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

First, if there is a comparator present "it looks like. 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.

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.

Or he might even actually get an image of Westminster Abbey that nevertheless fills all the criteria for an AOL. 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.

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.

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 tall.

B "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.

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. A too much break Is often Indicated by an overly elaborate Ideogram or Ideograms.

Bl-locatlon Break Bllo 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 Bllo break must be declared and objectified to allow the viewer to back out, and then get properly recoupled with the signal line again.

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.

D Dimension : Extension In a single line or direction as length, breadth and thickness or depth. In Stage IV, more detailed and complex dimensionals can be expected and are now considered to be in structure and therefore more reliable.

E 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.

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

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

Manor Gestalt : The overall Impression presented by all elements of the site taken for their composite Interactive meaning.

Idea: Mental conception; a vague Impression; a hazy perception; a model or archetype. 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 objectlflcatlon 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.

Intancrlbles : 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.

M Matrix : Something within which something else originates or takes form or develops. 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.

O Objects: An object Is a thing that can be seen or touched. Obiectlflcatlon : The act of physically saying out loud and writing down Information.

In this methodology, objectl flcatlon serves several Important functions. In effect, objectl flcatlon "gives reality" to the signal line and the Information It conveys.

Finally, objectl flcatlon allows non-signal line derived material Inclemencies, AOLs, etc. P Perceptible : That which can be grasped mentally through the senses.

Prompt : To Incite to move or to action; move or Inspire by suggestion. R 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.

A term coined by SRI-Internatlonali 2! Sense : Any of the faculties, as sight, hearing, smell, taste, or touch, by which man perceives stimuli originating from outside or Inside the body.

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.

T Tactile : Of, pertaining to, endowed with, or affecting the sense of touch. Tangibles : Objects or characteristics at the site which have solid, "touchable" Impact on the perceptions of the viewer, I.

Topics: "Topic" Is defined as "a subject of discourse or of a treatise; a theme for discussion. Track : To trace by means of vestiges, evidence, etc.

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

V image. PJ 's Ending Notes: This has nothing to do with the manual really. However, for those concerned about such issues of propriety, be aware that Psi-Tech Corp.

Since Mr. Dames and Ms. Dourif are well known 'behind the scenes' in the RV field for being highly litigious, many of us decided long ago that our response to such things would be to publicly post such correspondence on the WWW, so the public would be aware of it.

It is my personal contention that the reason Psi-Tech has taken offense at the posting of this manual is less related to the document than it is to the document providing evidence that Psi-Tech has been less than honest in their dealings with the public.

For instance, it proves that a great deal of public slander and discrediting of other legitimate remote viewers competition which has been done by Ed Dames, based on his supposedly unique and superior methods, has zero basis in reality.

It proves that his "TRV" methods are in fact not unique and are boldly plagiarized from Ingo Swann, renamed and sold as his own invention.

It proves that these methods have been advertised and sold to the public under less than completely honest pretenses and there's a whole subject itself on that point.

The posting of this manual could, as a result, be detrimental to the public image of Psi-Tech. However, since a history of shockingly malicious public and private behavior by the two principals of the firm, and many other events which normally harm businesses have not apparently impeded Psi-Tech's success, I trust that this manual will not either.

Ingo Swann. Washington, D. The meeting will beg. Garmin International Inc. Also new this year, X1 customers can tune into an Xfinity Watchathon Week Channel featuring free programming across providers.

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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.

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