Some Reflections on the CRV/TRV-protocols
This small article is for remote viewers that already made their first sessions or about to conduct their first ones. Many terms I am using here are specialized terms that are being used in remote-viewing. Most of the TRV-protocol is quite identical to the CRV-protocol, which was being utilized in the 80's. I do not describe the exact layout or details of the protocol, the manuals available and many published informations are already doing this job. If you are interested in those details, please consult either those books or download the informations from these locations: The DIA Coordinate Remote Viewing Manual which was authored by mainly by Paul Smith and the one year older manual Coordinate Remote Viewing: Stages I - VI and Beyond.
In the course of the years I collected some things in the various stages, many beginners have problems with in their learning process. To remain in the protocols course I am staying in the original sequence of stages here.
Some General Ideas
The utilization of the pencil for probing is vital in all stages, thus I am paying some attention to it here. We use the probing technique to bypass the liminal-border, which we do with the pencil's point: The pencil points into the area on the sheet which is to be probed. This could be a part of the ideogram, a row in a higher stage, an area of a scetch or drawing, or a section on a timeline. Just before the actual drawing of the stage one ideogram the viewer signals his readiness by putting the point of the pencil on the paper. As soon as this takes place the viewer is ready to receive the coordinates. The training sessions try to program the unconsciousness to utilize this signal for the bypass. Actually you need to react quite quickly, within three seconds, to produce informations, ideally without interpretations. McMoneagle's comparison of martial arts and remote viewing is not far-fetched at all, because is is also a physical action you do in order to bypass the liminal-border. The whole method is strictly ritualized, on a minimalistic level. One rule is most important during the whole session: Always be in motion. Never stay too long at one action, detail or part of the protocol, as long as you are not in stage six - and even then this rule applies. Otherwise you easily fell victim to the Analytical Overlay (AOL), which you must write down as an AOL or maybe as an AI. This writing down of the AOL is one important tool of the method, which you must internalize properly. You must realize that anything you write down during the session is objectified and thus no longer of interest for the further process. The written word is produced and archived, so you can forget it and proceed. If you do not have internalized this, your sessions can easily damage your sessions results. Okay, now we have a look at the various stages of the protocols.
Stage 1 - The Ideogram, I-A-B Procedure
The weird ideogram you create shortly after receiving the coordinates plays the main role in stage one. It is generated by command and is spontaneous and without conscious control. This seems to be a contradiction in itself. Many beginners actually have a certain problem in creating this ideogram, after the monitor uttered the coordinates which the viewer puts down, just before he creates the ideogram. This instantaneousness and uncontrollable element needs some attention to be mastered in the beginning. The faster you generate it the better. But (!) even slowly drawn ideograms can fullfill their destiny in the protocol, to get into stage two. Spontaneousity can be trained by easy exercises - we call it ideogram-training or archetype-training. It is also useful to watch an experienced viewer generating an ideogram to get a better idea on how to do this.
Another problem are the subconscious strategies of success: What worked once have to work again. This preconscious thinking can lead you to generate similar ideograms in different sessions. If you keep in mind that an ideogram in itself already tells us something about the general gestalts of the target, you realize quickly that the session's quality can be diminished by such strategies. To bypass this you should conduct exercises to loosen your hand that is creating the ideogram. Also you can conduct an archetype-training. Beginners I often give the advice to repeat this exercises on a regular base and check their ideograms for obvious similarities and repetitions.
As if this in not enough, some trainees have difficulties in the subdivisions of the ideogram. With some exercise this can be mastered - presuming that the ideogram actually possesses subdivisions. You use your pencil to probe the ideogram to find the subdivisions of it and mark them accordingly. You should avoid divisions in corners and within curves - it is most possible that you cut an archetype into parts.
Stage 2 - Your Senses
Many beginners or trainees actually have one big problem here: That is their rather limited active vocabulary. Suddenly you have to describe colours, texture, temperatures and the like in simple and best-fitting words - and to keep attention that you does not use words that actually already include meanings and functions. "rose-coloured" evokes a rose in your head as soon as you read or write this word. This is an example of a little trap you can tap into when trying to find the best words. The danger of slipping into an AOL is considerably high for beginners, using such descriptions. The limited vocabulary was also a problem for the viewers in the 80's that learned the protocol and the method. The solution was to build up large columns of descriptive words for each sense in order to increase the active vocabulary. Your sensual perceptions can be limited by your health at the moment of the session. If you have catched a cold then you may have troubles recognizing different smells at the target, for example. The meaning of stage two is to get into stage three. So it is not that important to be the best in all senses or to be too critical with yourself in this stage of the session. The larger your vocabulary, the better. Keep that in mind when making a session, because you need your words also in higher stages. Energetic aspects I usually describe in Dimensions, although you can use a separate Energetics after the dimensional aspects in the target-zone.
Stage 3 - The Sketch
There are three variations of sketches you can create in stage three. The analytic sketch is my personal favorite. It is quite useful to have some basic skills in drawing, sketching or painting when entering stage three. These skills are rarely developed or learned, which is a disadvantage to the quality of the remote-viewing session. One picture does tell you more then 1000 words. During stage two you eventually reach the dimensional aspects of the target zone. It is sometimes quite useful to sketch these impressions in the stage three. To minimize the fear of the empty paper, the viewer can draw a rectangle on the sheet, in which he makes his sketch. Morehouse is recommending that you visit some workshops to learn how to draw or paint in order to get rid of this blockade and to improve the sketches. The first viewers had to visit such workshops, who were trained by Ingo Swann in the 80's. You now may realize that it is quite useful for remote viewing to have some creative hobbies. The total contrast to the analytic sketch is the automatic sketch and the abstract sketch. All three of them have the high speed in common in which they are being created. Alway be in motion, do not take too long time at drawing or painting - you need not to win any contest here. Make it clear what you want to express with the sketch, maybe you want to label some details with words. It is not required to create masterpieces of art. The two latter variations of sketches rarely have some recognizeable objects in them - however, they may appear nonetheless. To create an automatic sketch you have to empty your mind and then make a sketch, without thinking of what you are doing, no evaluations or analysis at all. This can be very difficult for you, depending on how easy you are able to achieve this emptiness. Within such sketches you can always find some aspects of the target-zone, maybe contorted, doubled, mirrored or otherwise altered. Of course, stage three is here to get you into stage four.
Stage 4 - Remote Viewing
This is the first stage in which you are generating important informations on the target, so called higher informations. Here you make a difference between your own emotions and the emotions that are existent in the target-zone. This is quite important for stage seven, if it is being utilized in your session. Besides tangible objects you are also generating informations on the goal, deeper meaning and other intangible details on the target. Usually beginners do think they would make great mistakes in writing anything down there. There is an important sentence you should remember in this case: Content be damned - structure is everything - which actually is exactly telling you how your mindset should be. This sentence is quite important from now on, because you then may stop analytical informations overlaying the relevant datas, i.e. to avoid AOLs. As a viewer you only can decide whether an information is important for the task or not and marking this in this stage. Usually I make some abbreviations and write them next to the word, I decided to use further in higher stages. During generating datas in the T and the I row, you can remain a bit longer then three seconds, in order to decode the datas better.
Stage 5 - Drying out Cognitrons
Strictly spoken this is an inbetween-stage. In the first theories of how remote viewing works was being stated that you are leaving the signal-line in this stage to download the informations from the conscious mind, in other words: To dry out the cognitrons in your mind that were activated during your time in the signal-line. You write those informations down in order to let them go before you enter the next stage. Stage five is also being used as a kind of last-chance tool to get rid of really nasty AOLs. This stage is sometimes omitted and some viewer proceed from stage four immediately to stage six. Usually I do a short stage five before entering stage six, using this stage as it was intended, but frequently I also omit this stage to have more time in stage six left. If an AOL is too strong or reappears in the various stages I use this stage to write anything down that is connected with this particular AOL. Doing this one special effect of AOLs can be perceived: They have not much information in them to write them down. When I am using the stage five as an easier stage six I stay on the signal-line and use the stage five tables accordingly. Although deeper relationships are missing then, these are not always being required anyway.
Stage 6 - Free Movement in the Target-Zone
As long as you have a monitor at hand this stage is easy to handle for you. If you are a solo-viewer then you may have some troubles here. To choose the right tool at the right time is as easy as it is a problem in stage six. The faster you can work through the first five stages the more time you have in stage six. The maximum timespan you remain on the signal-line is something between fourtyfive minutes and ninety minutes. Usually a viewer has not much time left when he reaches stage six, so the large variety of tools in stage six is often confusing in the first sessions. At the end of my own training I used cards with a graphical representation of all tools availble in this stage. During a session, after I entered stage six, I usually probed the cards in order to use the right tool in the right place. This procedure I repeat as often as it is necessary to choose a new tool. Another possibility is the circle-of-decision, on which you mark the tools. During the session you make a short action-line, springing out from the center of the circle and use the tool which is nearest to this action-line.
Plasticine or free Movements?
Plasticine was a vital part of the first stage six sessions made in the 80's. It was (and still is) used to endeepen the viewer's contact with the target via haptic channels. Sometimes threedimensional models of the target were being created in this course. Nowadays I usually utilize the free movement of both hands in the air to get a better contact to the target-zone, which works very well. During a session I sometimes use this technique between stage two and three or anywhere else in the higher stages.
Stage 7 - Remote Influencing
There is a problem with stage seven: It is rarely, if ever, used in its pure form. It is not a part of the regular training-material and schedule, but it could happen during a session that some elements of stage seven appears in a stage. It is difficult to utilize because viewers quickly realize what is going on, especially when announcing a stage seven. Highly risky is a solo-session in stage seven, because the viewer does not know on what target he is working. A monitored double-blind session is not much better. The only possibility is that the monitor is frontloaded, when the session needs to go into stage seven in its course. There is also a base of trust between the viewer and the monitor, which under no circumstances should be violated. There are viewer around that do not accept remote influencing as moralic act. Do you want to be manipulated? Control of success of a remote-influencing session can be tricky.