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View Full Version : Monday Night's Class... Time and Remote Viewing...



Glenn B. Wheaton
2006-Nov-22 Wed, 03:06
Aloha All,

Monday night's class was all about understanding Time and the Remote Viewer. Remote viewing plausibility requires a clear perspective on the definition of time as well as an understanding of the two primary factors that affect time. The viewer whose understanding of time is clear has an advantage. When we think how viewing is possible we must face the plausibility of it all. Belief is a primary component in the seriousness of the effort. When you have cause or reason to believe, the effort becomes less an exercise of the irrational.

Rational is a word seldom seen in Remote Viewing discussions. Whether it is rational to believe that a Remote Viewer slips the bounds of Time really depends on your understanding of what time is or is like. My class demonstration was not intended to define Time but to show you what affects the state of time for the individual and allows for a viewer to experience multiple states of time. In the demonstration I showed you the composite nature of Time and Consciousness, they do not coexist in a single moment but in a smear of sorts. The math of space creates a dilemma in regards to time that consciousness has compensated for by buffering logic. If consciousness rode the moment exactly we could not culminate complex thought. This buffering of consciousness across a near bandwidth of the past allows us to realize a sense of the now even though it is all occurring real time in our near past.

I wanted you to see this small area just behind the now of Time and how consciousness manages to keep everything in order. I also wanted you to see the markers or boundaries of our little constant and continuous shift in time. It is a shift of observation and location.

Once we realize what is happening then it is far easier to understand how we must adjust our conscious perceptions to push or expand those boundaries. The work on "The Room" introduced you to Markers; the recent work on mental constructs allows clarity on how to place a Maker outside of Space/Time.

How it all works or could work becomes more important as we consider rationally the Remote Viewing process.

Aloha Glenn

Dick Allgire
2006-Nov-22 Wed, 14:19
Glenn,

Maybe you could talk a bit about how you employed "markers" when you remote viewed (experientially) every moment of the last week of Marilyn Monroe's life. That one has always fascinated me.

I produced a hundred or so pages on "The Room" project, but I'm not sure I was able to set markers and get back to them. I think I remote viewed the target multiple times and had varying degrees of target contact- a couple of good moments- but I'm not sure I really employed markers. Perhaps I did so without conscious knowledge.

We could still use some additional feedback on The Room plus hotwax.

Aloha,

Dick

Glenn B. Wheaton
2006-Nov-23 Thu, 01:18
Aloha Dick,

If you recall the instructions on the homework assignment of 2 weeks ago it was to promote the use of markers. I will review the instructions here for that homework.

The goal is to create a mental construct and enter and leave the construct from specified points or markers to think either inside or outside. Let's make a construct for the sake of this explanation. A construct I use is a series of rooms connected by a long hallway. There are 5 rooms each a different color with one exception in each room that being the North wall in each room is a highly reflective silver surface. The hallway between each room is exactly 100 meters long. The first room or entry room is the blue room. The exit takes you down the 100-meter hallway to the red room. The exit from the red room takes the long hallway to the green room. From the green room it's on to the orange room and then to the last room, the purple room.

So the construct consists of 5 rooms and 4 hallways. The rooms are small, no bigger than 10 feet square and there is no furnishing of any kind. The hallways are narrow and are the same silver color as the north wall in each room.

The task is to create this construct and navigate it. You begin by creating the blue room with its' one silver wall and exit. This requires a degree of mental discipline to maintain a sense of awareness in these specific surroundings. So once you have created an image of this blue room with its' silver north wall and exit hallway you must practice the initial entry to the room. In your thinking mind you displace a portion of your awareness into the blue room and take stock of the room condition. You should note initially the blue floor and walls, next take note of the silver wall denoting north. Your attention leaves the silver wall as you look for the exit. Spotting the exit you must move by steps towards the exit. It should require 4 steps to reach and enter the exit where you are in a silver hallway.

This is where it gets tough. You must take 150 steps down the silver hallway being conscious of each step and the color silver simultaneously. On the 151st step you enter into the red room. In the red room the recognition requirements are the same as the blue room. You must continue in this fashion until you have reached and recognized the purple room. I caution you this is a very tough mental task but it will certainly make you stronger mentally dealing with constructs and environments outside of your own mind.

Once you have mastered navigation of your construct it begins to become a functional environment in which you can displace a portion of your awareness for extended periods of time. Let's keep to the reality of what's been done. You have created a construct and devised a system of passing through it. You have a fixed protocol of what must be recognized, floor, 3 walls of a specific color, one silver wall, and finally to an exit. At this time there is no requirement for recognition of a ceiling. I can explain why in class if you don't mind.

You next must take 4 steps and exit into a silver hallway where you must take 150 steps. You enter into the next room and repeat the process until you reach the last room, the purple room.

The construct becomes a place where you can practice displacing a portion of your awareness and navigate that displaced awareness. What we want to build from here on out is familiarity with the environment you have created. With your mind you can begin to shift how you interact within the construct. You can increase your movement speed, walk backwards down the hallways, stop, fly, sit, or lean against the walls. All are actions or ploys to cajole your mind into acceptance of this as a viable reality that you can stay within.

Once you are familiar and have reasonable control at keeping a portion of your consciousness alert within the construct it is time to play with 2 major abilities. First is an ability to enter and leave the construct from any point within it. Second is the ability to mark that point of entry or exit so that you may return to that specific point. Why is this important? Well control is everything and knowing where you are at any point in the construct is important. There are good reasons, which we can go over in class, why we may want to leave the construct. The primary reason of interest goes to your working mind and its development at creating and maintaining a viable, functional, duplicity of consciousness, not at all unlike what is required during the Remote Viewing process.

There are just some things that will not happen in your mind unless you train it. To take your mind and shape how you think so that you can deal with the duality of two environments being recognized and processed accurately is a giant step forward as a remote viewer.

You asked about the Marilyn project and I will give you a few hints on how I did it. When I first worked the target it was a task like any normal target.

I sketched a room, which was lit by sunlight streaming through tall double glass windows. In the room there was a young girl standing looking down at the floor and an older woman who was seated in a chair that was much like an ornate wooden rocker. Long shadows filled the room and the latticework of the tall windows was shadowed on the floor between the two. Within the latticework shadows were the long slender boards of the hardwood floor. Following the boards I found legs for a tall standing table that had a handmade cloth covering it and on top of the cloth was a vase with what seemed to daisies sticking out in all directions. It was about here when my sense of the site broke and I lost the train of data. I tried in vain to reestablish the sense of that place but had to turn in my work in what I thought was an incomplete solution to the tasking. Obvious to me the people were important but I had used all my session energy in reconciling the environment. I was surprised when the Chief Warrant Officer who reviewed my sketch seemed pleased. I wanted to apologize for the incomplete session and he seemed to understand that I felt I had not done enough. He looked at my sketch and said simply, "if you can get this then you can get the rest".

It seemed obvious that some targets cannot be concluded in a single session. I never suffered from the need to get immediate feedback for my work and have gone months and sometimes years without finding out the official title to some target that I have worked. Some targets were just so interesting that that I declined feedback so that I could continue to dig at the target site. There have been a few targets where I have gone to an obsessive extreme to flush out a target. This is especially true where I have gotten a strong sense of involvement at the target or I began to get that sense of being there. Feedback brings all that to an end and if it were up to me I would forgo feedback for continued access to targets with a high experiential quality. I will tell you that the Marilyn target was done for a relative of a past President. It took quite some time to complete and was done very sequentially. I have already given you an idea with the description of the initial effort. The sunlight coming through the windows, the latticework shadows on the floor showing the slender hardwood floorboards that ended at the tall table with the vase of daisies. Following data becomes very interesting once you can get it going. The Playfair Matrix has always been my favorite puzzle ground.

I still have the raw data for that project and may consider putting it in the library. The personal nature of some of the work makes me hesitate. It's not that I doubt my work but rather there are some things in a person's life that do not need to be exposed. I do remember strong feelings about some of the work and my regret for literally being part of the mind paparazzi.

What I learned from that target series was how to disconnect and reconnect at or near specific points. Something you can learn as easily within the construct homework.

Enough for now, more in class.

Glenn