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Thread: Driving Home From Class Tonight

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  1. #1
    Dick Allgire Guest

    Default Driving Home From Class Tonight

    I just made the trek across the island over the Pali Highway from remote vieiwng class at Glenn's to my home in Makiki.

    Setting out from Glenn's on Kahekili Highway in the dark I had a visual overlay ( I actually saw superimposed on the highway before my windshield) for as long as a Visual Ideogram lasts - flashing lights, emergency vehicles. I also had (just for as long as you get in Playfair) a momentary feeling of suspension- of unreality of realizing you are in an accident.

    It startled me. I slowed down. Several minutes later on the townbound side of the Pali tunnel I saw a car stopped, and odd lights off to the side. A car was off the road and overturned, its headlights still on, but at an odd angle. Someone had just run off the road and flipped. People had stopped and were looking to see about the people in the car.

    The emergency vehicles had not showed up yet, so there were no flashing police or ambulance lights. It had just happened. That was still yet to come.

    Eerie little tagging precog moment.

    This capped off a night of Glenn rolling the Roulette wheel EVERY SINGLE ROLL over and over and over and over and over and over again... ALL RED. Non stop. Did not lose a single bet.

    Then Jason rolling black EVERY SINGLE ROLL over and over and over over and over and over again. Every time.

    Then Ann getting in the groove and hitting red, red, red.

    And I capped it off by calling 00 Green with a big stack of chips and that's what came up.

    If we had been in Vegas tonight we'd be counting the loot.

    Dick

  2. Default Aloha Dick...

    Aloha Dick,

    I hope the folks in the car are ok. The Pali is a dangerous road and the evening rain surely makes it more dangerous. An interesting night indeed in the class. I will make a separate post about it. I have been impressed over the years with the precognitive sense you have displayed time and again. A skill you have developed but my question would be is it something that has been with you all your life in some form or another? Or is it something that has surfaced since you started Remote Viewing 10 years ago?

    Glenn

  3. #3
    Dick Allgire Guest

    Default Roulette- Jason

    Glenn,
    I would have to say Jason won the night tonight. Here's why.
    We expect amazing and brilliant things from you, and you designed and practiced that little demonstration. Not taking anything away from you- allowing a roulette wheel to not be random however many times in a row you did that is damn good.

    Ann and I get honorable mention because I think we beat chance when we got our heads straight.

    But when you called on Jason to sit in the hot seat with no practice, no real training other than "just put it on Blackboard" his run of nonstop BLACK rolls was I think the feat of the night. He didn't miss. Or the wheel didn't miss. Or randomness wasn't random. Or.. how did that work?

    Dick

  4. Default Monday's Class...

    Aloha All,

    Monday night's class was less about Roulette and more about Ideograms. I do not want to spoil a surprise down the road but over the last few years I have tried to promote the movement of certain Pen & Paper skills to an Abstract Mental Function. Imagine Remote Viewing with the physical constructs of Paper & Pen gone but having the discipline of mind to function mentally as if you still had those tools to use. Blackboard becomes a much richer playground if one can but create, and sustain, the environment needed to function as an apex viewer.

    The Roulette wheel has been used to demonstrate the direct effect of Entrainments, Randomness, and other effects. Tonight it was used to demonstrate how to use the Ideogram on Blackboard to determine the outcome of a binary solution presented before you. In the binary outcome of the Red/Black Roulette bet one would assume that chance and randomness would dominate any solution. The result from spinning the wheel and dropping the ball should show a broken pattern between the two (2) main possibilities (Red or Black).

    This did not happen. I understand what did happen and I do hope you left class with an understanding that we no longer wait to see "what will happen". If we learn to think beyond the Paper and Pen we can wrap our minds around any challenge in which there is an unknown quantity.

    In the beginning of the class we discussed the need to re-establish our skills at encoding and decoding Ideograms. I gave some homework that once completed will become part of a larger exploration of Ideograms for others away from the Islands here. Do the homework exactly as it was specified and change nothing.

    Play with Blackboard and transition the Ideographic skills to a functional state there. It is important to note that the more unknown variables there are the better Remote Viewing data actually is. In understanding the decoding of Ideograms we learn to encode the Ideogram in the same way. Paper & Pen Ideographic data is a core skill in the Guild. There is no theoretical difference between the Paper & Pen Ideogram and the Ideogram on Blackboard. The problem is only that it requires a Discipline of Mind to replicate the process on Blackboard, which is a mental construct.

    Repetitive successful solutions demonstrate not only a skill in resolving an outcome, but also show that environments can be managed by the sharp mind. The actions involved with the Roulette results on this night were all Mental and involved no trick or slight of hand or wheel. Entrainment was not employed although one could premise that randomness become compliant to the mental actions. The Roulette results were not random but were biased in favor of the positive mental action on the part of those directly involved period. That mental action responsible was the generation and decoding of Ideographic data on Blackboard.

    Glenn

  5. Default Replies to another thread on Ideograms...

    Aloha All,

    I found the thread on ideograms very interesting and thought I would
    add a bit about how ideograms are used in HRVG methodology. Let me
    preface the information with a little about the nature of ideograms.
    At HRVG we deal primarily with two main forms of ideographic data. The
    first is Visual Ideograms and the second is Spontaneous Ideograms.
    Both types of ideographic data are considered to be expressive and
    non-perishable. This means the ideogram preserves its integrity beyond
    observation by the viewer who produced it.

    I'll comment on Spontaneous Ideograms frist.

    If you think about the ideograms that most are familiar with, a
    scribble of sorts done with a pen on paper, you realize that this
    graphic representation somehow contains or displays data about the
    gestaltic nature of the intended target. This was probably quite a
    leap for some when they were first exposed to it as a means of
    deriving target data.

    Graphically expressed ideograms work because they are expressive. By
    expressive I mean that you have used a pro-forma method to express
    meaning or knowledge through an action. In our alert Beta/Alpha we
    engage our language skills to express information. This could be
    written or audible and inclusive to our body language and biophysical
    state. In the production of graphic ideograms a residue of the
    subconscious understanding of the target is expressed or impregnated
    into that brief physical release on the paper with the stylus or pen.

    While recoverable by probing, the data is much like the scratches on
    the tubes that were used by inventor Thomas Edison for his cylinder
    sound-recording apparatus. He realized that an embossed disk, tape, or
    cylinder could be used to record acoustic vibrations in permanent form
    and to activate a playback system that, in moving over the embossed
    surface, would create an acoustic facsimile of the original sound.
    Graphically produced ideograms (in theory) are a similar application
    to record and playback base sensory data recovered from the intended
    target.

    The skill matures when the viewer adeptly collects, expresses, and
    replays the data on demand. A few things are evident in the
    preservation of the ideograms. Probing with a pen destroys data after
    collection. A probing stylus or finger, are less destructive to the
    ideographic integrity. At HRVG probing is done with a pen unless there
    is a need to keep the ideogram intact. It is also understood that a
    probing period to recover data is limited to about one and a half
    seconds. This is just long enough to emulate sensory data from the
    ideogram and avoid the construct period that follows.

    Spontaneous Ideograms are naturally devoid of fixed form but it may
    have a limited rhyme to its chaos that is demonstrative of a target
    quality in its spontaneous production. While the subconscious can be
    trained to produce quantifiable ideograms with form i.e. wavy across,
    rooftop etc, performance must be reinforced with training. One should
    not count on a graphic reconciliation of ideographic meaning
    Visual Ideograms.

    I am sure some would wonder "How can you have a Visual Ideogram?".
    Visual Ideograms are a construct of NLP. At HRVG we use NLP to
    allocate a portion of the visual field for the exclusive use of the
    subconscious to display imagery at the subconscious sees it.

    Production of the Visual Ideogram will fall into three (3) categories:

    1. Graphic representation of target imagery.
    2. Warcollier style ideogram.
    3. Contamination.

    Ideally a graphic representation of target imagery is most desirable,
    but at least half the time a Warcollier effect will manifest. This
    manifestation will occur in two (2) styles.

    1. A Fixed Code Image.
    2. A Disjoint Pictogram.

    The Fixed Code image is a prism effect of partial imagery originating
    from one side of the brain and it's sympathetic reflection for a
    complete stereo bandwidth focus as it is interpreted by the primary
    awareness. To verify the fixed code image usually one can put a card
    over half of the ideogram and the half that is covered will be a
    mirror reflection of the exposed half.

    The disjoint pictogram will be true Warcollier style graphic
    containing target aspects out of sync as a complete graphic
    representation.

    While we use the term ideogram for this visual data it is more
    appropriate to refer to it as a pictogram in most cases. Because some
    viewers seem specifically ideographic even after several years of
    training we recognize the skill at its most basic application level.

    Ideograms are considered to be less exotic than some aspects of RV and
    as such sometimes get the bums rush in session. At HRVG ideograms form
    the foundation of everything that follows. Ideograms allow target
    contact to solicit specific information without compromising the
    target aperture at the early stages of session work.

    Aloha Glenn

  6. Default More of my Comment's about Ideograms from another thread (Source)

    When the viewer is still in the alert beta/alpha stage of the session
    a major consideration has to be the ingress of construct/imagination
    on the process. In the probing of ideograms the actual dwell time, for
    a single iteration of a probe, should realistically be limited to the
    recognition response time of the person. The probe itself is a
    quasi-NLP cue to the subconscious to replay/listen the sensory content
    of the ideogram. So just like the stylus on the record player, the
    probe on contact with the ideogram begins a recognition period. The
    data flow is brief and limited. It is limited because the listening
    ability is limited in alert beta/alpha.

    The rule of thumb at HRVG, for a probe duration, is likened to the
    length of time your own mind can (in alert beta/alpha) open pathway to
    a specific sensory memory or sensation. I like to use the analogy of
    "Remember how a banana smells". Easy enough but for how long can you
    actually grasp the sensory flow? Usually about 1 � to 2 seconds is the
    limit to the sensory expression of the actual event. Using that as a
    gauge you can determine the length of time you can safely probe before
    the construct imagination begins to flow into the process.

    Aloha Glenn

  7. Default More of my Comment's about Ideograms from another thread (Source)

    Aloha Bill,

    Q> Do you use this 2 second rule in stage 2 and 3 also or just for
    ideograms?

    I guess we could better quantify the 1.5 to 2 second rule as an access
    aperture to the remote target when the viewer is in an alert
    Beta/Alpha state. When we look at what we are asking the viewer to
    do, it is pretty amazing. Keep in mind that the viewer's state of mind
    is under the positive control of its primary operating system and we
    ask that operating system to suspend activities while we jump 100
    years and 10,000 miles to a remote target. The primary awareness is
    designed to (during your waking hours) manage input and output. It has
    a need to remain active working a series of functions that range from
    the basic to the advanced. It just doesn't naturally want to suspend
    its very important functions while we go off to who knows where. It
    means at the most basic level that the primary function of protection
    of the human host in its environment is left unattended. It is a lot
    like sleeping on guard duty.

    The mind allows for time (as a function) to access its sensory memory
    or sensory collection apparatus in alert Beta/Alpha, but the duration
    of these moments are governed by simple rules of dwell time. If I
    asked you to remember what an apple looks like your mind will respond
    with just enough of its assets to accomplish the task and no more. You
    will quickly reference your library and for about 1.5 to 2 seconds
    dwell time you will complete the basic mental recognition needed to
    quantify the need for information on the apple and satisfy the query
    posed to the mind. If I asked you to remember your first pet as a
    child, perhaps a dog or cat, it sets up a different operational task
    for the mind because the information is linked to a maze of associated
    memories. It is here that the mind is in an association mode and can
    be distracted. The 1.5 to 2 second dwell time is still in effect but
    it seems far longer because it is a domino effect of sequential dwell
    times as an association expires into a new association.

    When we ask a viewer to generate data about a remote target we must
    understand just a few very important things. If the viewer is in an
    alert Beta/Alpha state we must begin with strict adherence to dwell
    times. We use those dwell times to collect data that we will later use
    to support extended target contact in an association mode. When we can
    jump from library recognition to associations we will see a functional
    drop in the Beta levels and a rise in the Alpha levels. It is a moment
    where we engage the mind with an environment in which the primary
    awareness allows for an extended absence from watchdog duties. We see
    this condition manifest in ourselves every day. Have you ever been
    deep in thought while driving to work and arrive at work a bit
    surprised not really remembering driving the last several blocks? You
    set into play an environment that any viewer would envy. But alas you
    don't know why or how.

    The viewer needs to be trained to establish and maintain environments
    that are conducive to collection of remote target data. One of the
    questions I always ask a class is "Do you really want to be here?". Is
    your mind right? Are you sure you want to do this?

    If the viewer adheres to method and protocol from S-1 to S3 then the
    1.5 to 2 second dwell time can be expanded in S-4 because the mind has
    enough information to support a series of associative dwell times.
    Until you have enough data you can't support the environment.

    Aloha Glenn

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