Question about the way you "pop out" information


New Member
I still dont get something, very important I think, about the way you make ideograms (phase I), basic word information on sensations (phase 2) or sketches (phase 3): do you let your hand do the stuff at random? For example:
1) On ideogram phase, do you do a quick scrawl at random? If the arm dont move, do you "force" it?

2) On phase 2 (sensations), you just right, right away, the words that come to your head or you really try to feel something?

3) On phase 3 (sketches), do you try to see something and draw it? from what I read, seeing is an AOL, so I suppose that you do random sketches, random moves with your arm?

Basically these questions adress with the problem of the feeling tone on how you remote view. I think that this is a very important question but its hard to find more about it on remote view manuals.

My understanding is that this is a very individual process. Some people experience every perception as a sensation. others have words popping into their awareness. third type have a bit of both happening.

The same kinda deal applies to the hand movement. you can just push your hand moving if it doesnt go. just give it a nudge. push and there it goes.

many approaches to all parts of the process.

In s2, put your hands out and feel the target. use your entire body as a sensing instrument.

i tend to draw by feeling, intuitively. other times i may close my eyes and get a visual which i then draw.

Find what you like.


New Member
Thanks for your answer. :)

I think that my question is important because in the end, its everything about your mind and your body and how they should "work" in order to get things (ie, ideograms, sketches, etc) out. I see a lot of manuals about the procedures, the steps, etc, but none of these steps deals on how should you make things happen. How do you sketch? For one hand, I read a lot that any clear picture on your mind is an AOL, but in the other hand, one gets confused about how do it...

When I have my remote view sessions, sometimes (many times) I get completly and total failures and I wonder why, maybe something is not correct in the way my mind should be, on how to work with it.

No more people here to share their experiences? :)


do you ever dream you're someone else?

Thing is, nobody can actually teach a person to BE psi. They can teach them a communications process which, if followed regularly, will help entrain themselves to ALLOW such information in... to the degree of their innate talent and the degree of their psychological allowance.

Initially it can be exasperating. Sometimes the more logical the person is, the harder. Either they won't let it in, and then when they finally do it's an extreme; or they do for a bit, but when the reality of it hits their psyche, then they can't view to save themselves until they've clubbed the resistance down. Either way, one of the important personal qualities for early RV is dogged-determination and stoic-humor...

In response to the above -- all free advice is potentially worth what you're payin' for it remember, heh --

Stage 1 (ideograms for gestalt) -

The ideomotor response is slightly below conscious, it's a reflex. The idea is to intentionally open to the energy and let the 'impact' come through the spontaneous response of your hand on the pen. Relax your hand a lot. Actually practice this until you can do it at least a little.

Also, if your subconscious is still really NOT open to viewing yet (as evidenced by fact it's a bear and then doesn't work so well), then you need to work on that more than anything. If you spend eons in misery with not much data coming and then the results are poor, that's not a good entrainment.

So drop your session length to like 15 minutes, and start with just "staging 1-ing" things -- make several efforts, and you can try to do an ideogram and then see if you can sense any other (S2) impressions (in other words, blended effort rather than just one then the other) -- then get feedback. You'll need to increase your target source so you can do lots. There are plenty online for this kind of exercise.

When you get one correct, STOP for the day.
Viewing is like gambling: if you don't stop on a win, you leave a loser. :)

Stage 2 (descriptives) -

Relax and pointedly 'ask yourself inside' for 'what is most important and relevant about this target?' Don't expect visuals. There's tons of ways to get data of course, but the majority is like a fuzzy-conceptual that in immediate-memory you can "roughly translate to a visual idea."

If you get a visual it is likely a (database) memory flash that contains something LIKE something in or at the target. It is rarely THE target.

Early Viewing

Initially (there's a million variables here, so it really is difficult to be generalized, but I'm trying), whatever you get is likely to be very fast, very vague, and very... um... spotty.

By that I mean two things. One that probably it'll be an array of right, wrong, no feedback, and not sure. So don't put a ton of self-worth on how great you do at this in the early stages. People who tend to be smart and test well often really beat themselves up with viewing. The faster you learn to be "interested and hoping" but least-as-possible "ego-attached" to the process, the better.

Second, imagine that there was some information, but it only flashed for an instant, and when it did flash, there was something in front of it so only tiny spots of its info came through. You might see stuff that is such a small piece of info it's not even a thing. Not even a recognizable piece of a thing. Just record whatever comes through as well as you can.

It cannot be overstated that the goal in viewing is to DESCRIBE those (usually vague and super-quick fleeting) impressions. Not identify/label.

It's also worth emphasizing that initially your primary goal is to allow yourself to open to information, to allow data to gradually build to a stream and then expand. This is MORE important than the outcome and you will know how it is working by the improvement in the outcome.

Imagine if you will that there's a guy learning to play basketball but he's SO shy that the coach has a hard time getting him to do layups or to really put himself into the jump or the throws. This is most people's psychology in the early days, no matter what their brain thinks. Getting him comfortable with the guys on the team, with the process, and importantly, helping him see that it's ok to fail, not to put such ego on that, this is all really important. Once he can finally LET himself play, THEN they could really focus on the details of his layups. And maybe he does nothing but layups and free throws sometimes, not whole games, while he works on the individual skills. The basics of learning most things have commonalities; viewing is no different, in that way.

Stage 3 - sketching

The trigger to move to stage 3 is an AI -- aesthetic impact. Usually that will be information on something like size -- AI will usually come with a slight emotion as part of the perspective (not just "big." but "Big!"). (Not to be confused with EI, emotional impact, which is an actual emotional response, such as sadness). Some people who sketch very naturally, might often move right from S2 descriptives to a sense of a layout, like more than one something in this relationship to each other. That is already stage 3 just not in sketch form yet.

Relationship energy generally comes through the solar plexus chakra so it's literally a bit of a gut feeling, the sense of the shape. For the most part -- until later in session and much greater target contact -- S3 sketches are from data felt, not seen. If you do not have any AI or sense of shape or relationship, your target contact is probably not sufficiently developed to continue to S3.

Another point I like to emphasize with new viewers: the purpose of any format is in great part to develop your target contact and your data bandwidth -- that is a fundamental that underlies the communication structure. No amount of communicating will work -- or can happen at all -- without decent rapport.

So if your format tells you that you move from S2 to S3 and here's the clue or trigger when it should occur (as opposed to, "when you feel like sketching finally"), then part of the point of the process is to GET YOU to the point where you feel like sketching. When you are about there, there's a symptom, but that's mostly to get your conscious attention, in case you'd sit there all night writing columns of descriptives and not think to try for sketch data which you can probably get not long after an AI, maybe anyway :) and which would likely expand your bandwidth a bit.

Some people don't much sketch. Some people are mostly words. Sometimes you just don't feel it. Other times it's really strong. If you really just can't the groove for it, see if you can move into stage 4, don't sit there trying to sketch forever if you just can't. I find, though, that if you don't have much urge to sketch 'for real,' sometimes even the tiniest shapes - a short line, a corner, a little curve - casually, as you ask yourself for more info -- can help more info (stage 4) start to come through.

Session fails -

Make your sessions short initially if you need to. And I mean short can go all the way down to just a few minutes. You want to 'remember' your experience -- be able to sort of "re-live it in memory" when comparing to feedback. When the time is long and the data more nebulous, that's harder. Set up a stage 1 and 2 plan, give yourself 15, even 5, minutes, and tell your mind GO and give me everything you got because we stop then. And do it as an exercise. Otherwise if you have a lot of resistance you may find yourself sitting around forever waiting for data, which is insanely ephemeral when you do get some, and then what seems like ten years of misery later, it doesn't even seem to be on target. (Many eons ago, I wrote in a blog post, Accuracy is just two four-letter words. :D ) Nobody's going to stay with that torture!

A coach would not put a super shy still new to the sport player into a long grueling basketball game against a tough team. He'd set him up for much shorter-duration repetitive exercises on key individual focus moves - dribbling, free throws, layups, passing, and so on. Once they were going ok the game would be a more reasonable effort.

One of the problems with adopting a format is that most people think they have to use the whole thing every time, or whatever of it they have learned. Use what you can do and one extra stage. If you are still working on getting gestalts, then do gestalt practice. Hey! Mike has a gestalt practice online!


Hope that helps,


I think it is a God thing, very hard to understand. It use to be only Jewish people. They got hurt for it. You will not be liked for it. Hard stuff. Why. I have always wondered why the Jewish people were so targeted and African Americans too. No good answer. God said seems too simple for our answers, but we are temporary. Not my first rodeo. I suggest we have a lot of real viewers here.


New Member
Regarding my original question in this topic, the best document I found is this:

I think that this is a very important issue that is only barely adressed.

I found another document from Prudence Calabrese (you can find it on Daz Smith website) wheres she says that some people are not visual, so all they need to do is let their hands make a sketch.

The link I gave above says that as soon you say the target coordinates, you may get a very quick and faint glimpse of the target. I still dont receive nothing lol, nevertheless, I found the document VERY useful and scientific. In few pages you will find much more useful information than in other documents around the web.