• This site uses cookies. By continuing to use this site, you are agreeing to our use of cookies. Learn more.
  • Hi Viewers! As you see, we have brand new software for our forum! More changes to the display coming over the next couple of weeks. -- PJ

Probing for more info during a session

#1
I'm curious how this happens for most of you in CRV. I feel like when I do a CRV session, I'm just writing a bunch of random disconnected stuff. In other methodologies they specifically identify some things to latch onto and probe deeper. For instance in TRV you define X as the most important aspect, A is the next most important, and then B, and so on. Then you go on to do S1-S4 on X, and S1-S4 on A, and so on, and at the end you combine the info for each of the aspects into a site template. HRVG does something similar. I know Daz does this, watching his video sessions he clearly is thinking, "here is something, let's get more info about this". In TRV, aspect X, the most important part of the target, is selected early, but it's not specific so you can't be "wrong", since every target has a most important aspect. In HRVG I see Dick do the same using the gestalts, but the gestalts are selected later in the session after some site contact has been established. In CRV the gestalts are the first thing, and if you are wrong about them, then does that throw off your whole session, or do you find things to latch onto in later stages?
 

daz

Remote viewer, author, artist and photographer.
Staff member
#2
Generally the early S1 gestalt's are not really off target.
You need to get in the mindset of YOU are the detective - its up to YOU to investigate. CRV will only get you part the way there, its you that needs to be inquisitive, probe all sketches, inside the sketch, outside of it, what's its relationship to other parts of the sketch, what sensory data do you get form each probing of the sketch. I usually mark sketch components with A) B) C) and so on then probe and describe each with only s2 data.

Also dont forget to move about;
move above and describe,
move inside and describe
below
infornt of the target-ground level - what do you see - describe.

Think of each target like a puzzle and your job it to describe it in as much detail as you can - BUT low level detail, lots of satge2 clusters of sensory inpr4essions and words. All the while, try not to dwell on anything, move fluidly and speedily. I always try to focus upon writing the best page headers that i can to distract my wandering/inquiring mind.

Daz
 
#3
Blan out your mind. It could be anything, a sheet of paper or an alligator. Let go. What is there. What do you see, smell, touch, and how far down the rabbit hole do you want to go? relax. It is natural. No occult stuff. We are made to be happy. I like flowers. Be happy. Have a clear mind. Be patient. It is not easy to view on a computer.