Class notes

Abstract_1dea

New Member
I Just completed Farsight RV Voyager class Sunday. It was incredible. We had some very impressive sessions that really blew me away.

I promised to share some notes and I can't tell you enough about it. If you have the opportunity to take some classes or attend a seminar such as Joe's, just do it. You won't regret it. There are some things you can't get from just MP3'ing it and homeschool. It would be worth going and having to eat ramon soup every day for a month just to pay for it.

If you want to get started right away, download the Farsight MP3's PJ has gotten permission to post.

Courtney has been most generous to offer them for free. (Thanks Courtney!)

Then follow up at the Farsight web site and download anything you can find and print the manual. It doesn't exactly match the procedure but it's close enough. Follow the MP3's not the manual when they diverge. Also don't hang a lot of meaning on each session. Your mileage may vary. If you don't get target data slim it down to the basics - Phase 1 and build from there. Doing the homeschooling thing, you may have twenty sessions before you really have a breakthrough awesome session. Chances are you'll have a really good one after a short time. Remember too, at StarGate, the whole process took almost a year or more to completely train a viewer.

I'll start off at the beginning:

Cool down. I can't stress enough how important it is for a beginner to be settled before you even begin. The CSP on the MP3's is OK. But after a long day working, when I massaged my feet and then did the Pranayama, my foot stink got on my hands and it was not pleasant. I like Hemi-Sync Meditation or another was Brainsynch with the same theme. Important is the theta stage and to clear your mind of all thoughts and keep it clear for a short time. Maybe at least 5 minutes without a thought. I know that feels like an extremely long time and it may take some practice but we had some excellent hits. The longer the better. Cool down before every viewing with at least 20 minutes cool time. After you get used to the zone you need to be in, the time will get shorter.

After you have cooled down, don't expect to have all the functionality of your brain. I had a hard time remembering page numbers, forms, things that require left brain, etc. You want to be in an altered state at this point. Not dazed or in a trance but keep your mind as empty of thoughts as you will be needing it to be quiet. The impressions you will be getting are very quiet and your mind has a way of creating a din of noise that crowds out the data you will be getting.

Ideograms. This was not a tough one for us, but it can be. Study the common ideograms and practice with them. Do a few pages of just ideograms. What worked best for the instructor is write a 4 digit number and then another below it and draw an ideogram immediately for practice. Just make up the number or generate them if you don't want to engage your left brain and practice one type for two pages, then another for two pages etc. It is important to immediately draw the ideogram after the last number you write. Maybe not even lifting the pen. Just let your hand go and do it's own thing. We did this every morning first thing. I'd bet I did about twenty to thirty pages of just ideograms and numbers, dozens per page. It sets up the language for your conscious mind and subconscious. You need that. You want to reach a point that you are doing them without thinking about it. If you are first starting out and are having trouble with them, do them every day for a few days or a week even. Get used to burning a lot of trees. Make them big enough to see well, you will be using them later. 2-3 inches long maybe an inch or two tall. It's flexible and when you start viewing for real, they may be even bigger. Don't get hung up on them, some big league viewers don't even use them. But it is a very good tool.

The manual has several different ways of doing Phase 1 and it changes as you get move along.

At first, you only do the number and ideogram and get descriptions by touching your pen to the ideogram (called probing) and do the A: describe the movement of the pen. use -ing and -ward words Just do a few of those to make sure you get on target and get a good description. It's OK to use the same description for the same motion. When you get a few of those that are real good, start doing them looking for a B: To get your B:, don't probe again. Staying within the narrow range of Ideograms you practiced with and with your descripters,try to identify your ideogram. There is a list of descriptions in the manual and on the MP3's. it's a good idea though to write them down. It will stay with you longer. It's also hard to remember things in your state of mind. Concepts are easy but putting words to them may be a little more difficult. If you can't make out your ideogram or it confilcts with the descriptions don't worry, write no-B you don't reallyhave to have anything there or if it is something you can't recognise (like something alien perhaps) you can waste time here. No-b is just as good as B, just write it down.

At first do the number, ideogram, and the A: Do a few of those until you are bored with it and are on target every time or most of the time. Then do the A:, B:, don't worry about the C: just yet and move to Phase 2. From here on out, do about 3-5 pages of Phase 1. If you're not getting good data, do more. If you are consistently on target, just do three. The point is to make contact and have your sub-conscious - conscious communication functioning. I wouldn't post this in the galleries unless you are really brave. But keep practicing.

Phase 2 is just describing things you sense at the target site. Probe the space after the label and write down what you perceive. If you get an idea of what it is, write it down to the side and drop the pen. In your mind let it go. It's not your job at this point to figure it out even though you are dying to do so. Let that go too. Let it all go like you did cooling down and pick up the pen again and continue on quickly. List the perceptions. Do this several with just A:, B:, Phase 2 until you are getting good hits and solid perceptions. Write something down in every line, every line, that's every line. Get used to putting down everything you get edit nothing out, scratch nothing out. If you even get a hint of it, write it down.

At this point I would like to tell you that you may not feel like you are getting anything and you will doubt yourself. That's OK, you actually are, but you don't feel like it. Let that go too. Put down whatever comes to mind. As you get more practice, you will know when you are getting something better, but at first, you feel nothing. Write even that down if you like. When you are getting something and it seems to fit everything else and you think you know what it is, most likely you are wrong. That's an AOL. Write it down as a deduction and drop the pen. In your mind - let it go. If not, your session will be a beautiful storyline that has only passing resemblance to the target. Also if you don't write down what you are getting, your sub-conscious will not be ready for the next impression. In phase 2 probe in the space just behind the : or in the space next to where you would be writing. Keep your pen on the paper at all times.

Probe - write Probe-write. Get used to it. You're going to be doing quite a bit of it.

When you are getting a page full in good data, then you can move on the picture - Phase 3. Number the page. You may have to look at the other page to remember the page number. No joke, If you are in the right state you have to think about things like that. Don't dwell on it. Let it go. You will know which way to turn it. Look at the blank page and draw what you feel should go where you feel it needs to be. I don't know how it works but you should feel something. Draw everything. don't figure out what it is. If you have a notion of what it is, write that down and drop your pen. You are not supposed to know until it is over. If your impressions are coming in to fit something, declare it, drop your pen and dump it. If not you, will AOL all over the place and your session will be of your imagination, not the target. You may pick up any part of the target in any order. It most likely will not make any sense to you when you look at it. If you wave your hand around and sense something, don't think about what it may be, write it down. Don't edit out anything that doesn't fit.

After you have a few good phase 3 sessions, you are going to change things a bit. In phase 1, you will be adding a C: section. Don't do this too early so you get ahead of yourself. When you do phase 1, draw the ideogram, do you A: and declare your B: then go to C: and write down your sensory perceptions here. If you are doing it right before you may have gotten something before you moved on to Phase 2. That's OK. You are starting phase 2 on the same page as phase 1 now. Write down your perception here. If you don't have any, don't put anything here and move on to phase 2 after you get a couple more phase 1 results. Try again the next time. Don't worry about your performance. After you get good at this try adding a D: section and jot down a little sketch at the bottom of the page. Don't spend much time there, just drop in a picture and go on.

That will get you through phase three and some very good sessions.

I'll add Phase 4 next.
 

flower41

New Member
Abstract_1dea,

This is terrific. I started with Farsight back in December 04. Trying to find a shorter route and running out of paper ;) I started trying lots of other techniques until I had a hodge-podgish style that just didn't work. Half the time I couldn't even remember it. How this newbie can think of developing my own style, before really learning and becoming familiar with one style, amazes me about me. :-[ Thanks for bringing me back to first base. I had almost given up.

Looking forward to more.

Shuckz
 

Abstract_1dea

New Member
I did the MP3's first and when my first class got cancelled, I started viewing. I had pretty good success, but I was very confused on how to do the first page and the templates did help much. There were several page ones and I couldn't figure it out. I did, however, get all the way to phase 4 before the class and the movements really blew my mind.

I'm glad it helped.

If I could have explained it better, let me know.
 

Joe_Black

Member
I think its great that you put your slant on the learning, because when i tried to learn the farsight course I couldn't understand it!
 
R

restful

Guest
Perfect timing, thanks :p Nice clear instructions too lol :)

brayden
 

Abstract_1dea

New Member
PDPJ reminded me of something.  Group enviornment sessions are different.  That's a big reason for going to a class or seminar.  I started out with a bang and built from there.  The collective has a big effect on your target

I did a session last night - the first since the class and I bombed.  I had to mercy kill it. Looking at it afterwards, I was on target but the impressions weren't as strong as when I was part of a group.  Maybe I'm just to hasty with the kill button.

In the class as well, I missed some big clues such as: a large metal building, I missed the metal completely, or I missed the object being in space.  When I was looking at the feedback, I was looking for the things that would strike me if I was there.  The sub-conscious sees things differently.  Getting used too that I think for me is going to be a struggle.  That's why I judge my own sessions so harshly.

modified - spell check
 

polkadotpuhjommies

.... don't be ambiguious with your intent ~
That's why I judge my own sessions so harshly.
We are all our own worst critics. I'm VERY hard on mine.

The sub-conscious sees things differently
well....duh....as you know, my mission session is a perfect example of 'explaining things differently' ;D

You'll do just fine. Use the galleries for tons of practice. You'll find your own singular way.....just takes time.

The important thing is, you have seen for yourself what you are capable of. You experienced a high with good results....you KNOW it's there within you. It's no longer about doubts but that of self confidence. You'll find it. I have no doubts.
 

larrywojo

New Member
Hi Abstract_1dea,

Outstanding effort, really!! And the fact that you took the time to share what you learned shows character and I'm sure is MOST appreciated (and will be for some time to come).

And it's not just the whippersnappers who are gonna profit on this one. Although I'm not well enough informed about this particular methodology, I think I have a better appreciation of it now. I can see similarities, and more importantly, finding those similarities provided a great spark to reflect upon my own method. Good Show!

Congrats,
larrywojo
 
W

wizopeva

Guest
Hey Abstract, thanx for writing all that down for us! It's interresting to read about other methods. Seems like Farsight style does not vary hugely from CRV, but then again, you have
only given the basics and purists of any method would say that small variations are still impt! ;-)
-E
 

toad

Member
If you want to get started right away, download the Farsight MP3's PJ has gotten permission to post.
I tried to use the WinMx: impossible
What is the url of the MP3's posted by PJ?
 

Marv_Darley

New Member
Staff member
Thanks for the notes, Abstract...

I`d be interested to hear what the SRV instructors have to say about `subspace beings.` Doesn`t Brown`s teachings encourage you to keep a column open for that in the Stage 4 matrix? If I remember rightly this was to allow for the possibility of meeting some kind of subspace entity at the site the presence of which you subsequently declared. Is this still encouraged? If so, what`s your view on this?

I thought it sounded rather whacky until I came face to face with what I can only describe as a `subspace being` during a session last year...turned out to be a woman who used to live at the site I was viewing (as verified by photos on the site`s wall...yes I may have `fed her face back to myself` but it felt like a genuine `meeting` at the time.) I also once clearly heard a Liverpool-accented voice telling me to `go home` when viewing a football stadium in that city.

`Subspace beings.` Your thoughts?

Marv :)
 

Marv_Darley

New Member
Staff member
Hi Joe. From what I remember, Courtney Brown describes subspace (in the intro MP3) as that aspect of existence beyond the temporal / physical to which everything is ultimately connected...he insists in his preamble to the course that we as human beings are also `subspace` beings and thus possess the ability to bypass the temporal / physical through the act of RV. Zero-Point Field, Matrix, Unified field, Subspace, call it what you want...

Regards,

Marv
 

Abstract_1dea

New Member
Courtney's description of sub-space perceptions is some thing or some presence that is not in regular space as we perceive it physically.  It may not verifiable so it is up to the viewer to give it any kind of meaning.  I have perceived a presence or two that don't fall into the category of normal space and time.  I have not perceived anything outside of a presence.  

However, it was stated that there are objects as well as beings that are there as well.  That is the basis of the assumption that we are viewing with a part of ourselves that is not in the normal space/time.  Courtney says it is the sub-space aspect of ourselves.  I only know that there is more to all of us than we perceive.

-Maybe even more than we can imagine.

For Toad-
PJ's download for MP3's is:
http://www.palyne.com/me/free-remote-viewing-methods-how-to-learn-rv.shtml
 

Joe_Black

Member
Ahh the timeless dimensions/places. I got that AOL and in Intangibles repeatedly while working (blind) targets like the matrix, angels, God, souls etc.
 

Abstract_1dea

New Member
They may not be AOL's at all. Subspace things are real, just not objectively verifable.

You would list them in phase four as Subjects in physicals, S in the SUB and Angel in the concepts coulmn.

To get more data, you could even go farther and add a P41/2 and say "there is a subspace entity that seems to be an angel at the target location..." and you may have more as you are writing that.

But I'm getting ahead of myself.
 

PJ

Administrator
Staff member
I tried to use the WinMx: impossible
What is the url of the MP3's posted by PJ?
http://www.palyne.com/me/free-remote-viewing-methods-how-to-learn-rv.shtml

NOTE: these aren't streaming so you right-click and save them to disk. BUT if you are using a proxy server (some dialups do for example), it may not "find" the file, in which case, single click to open it regularly in whatever s/w you have that handles those and save it from there.

PJ
 

Greywolf

New Member
Thanx a lot for sharing Abstract :)

Looks like you learned a ton and had a lot of fun :)

I'm just thinking, if CRV has more to Stage 1 than an ideogram, and if SRV has it, and Joni's TRV has it, then why in the world doesn't Ed's TRV not have it (which is what I'm learning). And I'm sure it's important, cause it just feels wrong drawing 1 ideogram and jumpining to Stage 2 impressions.

I might just try implementing CRV/SRV into my TRV Stage 1 and see how that goes.

Will give your stuff a try though :)
 
Top