2/24/16 Controlled Remote Viewing Manual - Stage 2

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Tr ue  s k e ptic is m  doe s  not  be gin  by  be ing  a nti-­a ny thing.  The  pr oc e s s e s  of  ope n  c ons ide r a tion  a nd  e x a m ina tion  (i.e .,

r e s e a r c h)  will  ultim a te ly  e s ta blis h  whe the r  s om e thing  e x is ts  or  not.  ~  Ingo  Swa nn

STAGE II

A.   Concept:

Stage  II  presents  to  the  viewer's  cognition  signal  line  data  relevant  to  physical  sensory  input.    The  classic  explanation  of  this
is  that  such  data  are  exactly  equivalent  to  "sensations  the  viewer  would  experience  were  he  physically  present  at  the  site."
In  effect,  this  allows  the  viewer  to  come  into  closer  contact  with  the  signal  line  through  recognition  and  objectification  of
sensory  facts  relevant  to  the  site.    This  information  centers  around  the  five  physical  senses:  touch,  smell,  sight,  sound,  and
taste,  and  can  include  both  temperature  (both  as  a  tactile  "hot/cold  to  the  touch"  sensation,  and/or  a  general  environmental
ambience)  and  "energetics"  (i.e.g,  magnetism,  strong  radio  broadcasts,  nuclear  radiation,  etc.).

B.   Definitions:
1.   Sense:  Any  of  the  faculties,  as  sight,  hearing,  smell,  taste,  or  touch,  by  which  man  perceives  stimuli  originating  from
outside  or  inside  the  body.

2.   Sensory:  Of  or  pertaining  to  the  senses  or  sensations.

3.   Tactile:  Of,  pertaining  to,  endowed  with,  or  affecting  the  sense  of  touch.    Perceptible  to  the  touch;;  capable  of  being
touched;;  tangible.

4.   Auditory:  Of  or  pertaining  to  hearing,  to  the  sense  of  hearing,  or  to  the  organs  of  hearing.    Perceived  through  or
resulting  from  the  sense  of  hearing.

5.   Dimension:  Extension  in  a  single  line  or  direction  as  length,  breadth  and  thickness  or  depth.    A  line  has  one
dimension,  length.    A  plane  has  two  dimensions,  length  and  breadth.    A  solid  or  cube  has  three  dimensions,  length,
breadth  and  thickness.

C.   Site  Requirements:

Sites  for  Stage  II  training  are  selected  for  their  pronounced  manifestation  of  sensory  information.    Examples:  sewage
treatment  plant,  airport,  pulp  mill,  botanical  garden,  chocolate  factory,  steel  mill,  amusement  park,  etc.

D.   Clusters:

Stage  II  responses  tend  to  come  in  groups  or  "clusters"  of  words-­-­usually  3-­4  words,  though  sometimes  more-­-­pertaining  to
different  aspects  or  gestalts  of  the  site.    If  for  example  a  body  of  water  and  an  area  of  land  are  present  at  the  site,  a  group  of
sensory  Stage  II  words  might  be  produced  by  the  viewer  relating  to  the  land,  then  another  group  relating  to  the  water.    This  is
particularly  noticeable  in  sites  whose  ideograms  product  two  or  more  "A"  and  "B"  components.    Stage  IIs  will  tend  to  cluster
in  respect  to  the  "A"  and  "B"  components  to  which  they  relate.    Stage  II  responses  cluster  in  another  sense  as
well.    Frequently,  types  of  sensory  responses  will  come  together.    For  example  two  or  three  tastes,  smells,  colors,  or
textures  may  cluster  together  as  the  viewer  objectifies  his  perceptions  on  the  paper.

E.   "Basic"  Words:

True  Stage  IIs  are  generally  simple,  fundamental  words  dealing  directly  with  a  sensory  experience:  i.e.    rough,  red,  cold,
stinging  smell,  sandy  taste,  soft,  moist,  green,  gritty,  etc.    When  objectified  words  go  beyond  the  "basics"  they  are
considered  "out  of  structure"  and  therefore  unreliable.
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considered  "out  of  structure"  and  therefore  unreliable.

F.   Aperture:

After  a  proper  Stage  I  Ideogram/A/B  sequence  has  been  executed,  the  aperture  (which  was  at  its  narrowest  point  during
Stage  I)  opens  to  accommodate  Stage  II  information.    Not  only  does  this  allow  the  more  detailed  sensory  information  to  pass
through  to  the  viewer,  but  it  is  accompanied  by  a  correspondingly  longer  signal  "loiter"  time-­-­the  information  comes  in  more
slowly,  and  is  less  concentrated.    Towards  the  end  of  Stage  II,  and  approach  the  threshold  of  Stage  III,  the  aperture  begins
to  expand  even  further,  allowing  the  acquisition  of  dimensionally  related  information.    (see  below.)

G.   Dimensionals:

As  the  viewer  proceeds  through  Stage  II  and  approaches  Stage  III,  the  aperture  widens,  allowing  the  viewer  to  shift  from  a
global  (gestalt)  perspective,  which  is  paramount  through  Stage  I  and  most  of  Stage  II,  to  a  perspective  in  which  certain
limited  dimensional  characteristics  are  discernable.    "Dimensionals"  are  words  produced  by  the  viewer  and  written  down  in
structure  to  conceptualize  perceived  elements  of  this  new  dimensional  perspective  he  has  now  gained  through  the  widening
of  the  aperture.    These  words  demonstrate  five  dimensional  concepts:  vertical-­ness,  horizontal-­ness,  angularity,  space  or
volume,  and  mass.    While  at  first  glance  the  concept  of  "mass"  seems  to  be  somewhat  inappropriate  to  the  dimensional
concept,  mass  in  this  case  can  be  conceived  in  in  dimensionally  related  terms  as  in  a  sense  being  substance  occupying  a
specific  three  dimensional  area.    Generally  received  only  in  the  latter  portion  of  Stage  II,  dimensionals  are  usually  very  basic-­
-­"tall,"  "wide,"  "long,"  "big."  More  complex  dimensionals  such  as  "panoramic"  are  usually  received  at  later  stages
characterized  by  wider  aperture  openings.    If  these  more  complex  dimensionals  are  reported  during  Stage  II  they  are
considered  "out  of  structure"  and  therefore  unreliable.

H.   AOL:

Analytic  overlay  is  considerably  more  rare  in  Stage  II  than  it  is  in  Stage  I.    Though  it  does  occasionally  occur,  something
about  the  extremely  basic  sensory  nature  of  the  data  bits  being  received  strongly  tends  to  avoid  AOL.    Some  suppositions
suggest  that  the  sensory  data  received  comes  across  either  at  a  low  enough  energy  level  or  through  a  channel  that  does  not
stimulate  the  analytic  portion  of  the  mind  to  action.    In  effect,  the  mind  is  "fooled"  into  thinking  Stage  II  information  is  being
obtained  from  normal  physical  sensory  sources.    The  combination  of  true  sensory  data  received  in  Stage  II  may  produce  a
valid  signal  line  "image"  consisting  of  colors,  forms,  and  textures.    Stage  II  visuals  or  other  true  signal  line  visuals  of  the  site
may  be  distinguished  from  an  AOL  in  that  they  are  perceived  as  fuzzy,  indistinct  and  tending  to  fade  in  and  out  as  one
attempts  to  focus  on  its  constituent  elements  rather  than  the  sharp,  clear,  static  image  present  with  AOL.

I.   Aesthetic  Impact  (AI):

Aesthetic  impact  indicates  a  sudden  and  dramatic  widening  of  the  aperture,  and  signals  the  transition  from  Stage  II  into
Stage  III.    In  normal  session  structure,  it  occurs  only  after  two  or  more  dimensionals  occur  in  the  signal  line.    On  occasion,
however,  AI  can  occur  more  or  less  spontaneously  in  Stage  II,  especially  when  a  site  is  involved  with  very  pronounced
Stage  II  elements,  such  as  particularly  noisome  chemical  plant.    AIR  is  the  viewer's  personal,  emotional  response  to  the
site:  "How  the  site  makes  you  feel."  It  can  be  a  manifestation  of  sudden  surprise,  vertigo,  revulsion,  or  pleasure.    Though
some  sites  seem  to  consistently  elicit  similar  AI  responses  in  any  person  who  remote  views  them,  it  must  still  be  borne  in
mind  that  an  AI  response  is  keyed  directly  to  the  individual's  own  personality  and  emotional/physical  makeup,  and  that
therefore  AI  responses  can  differ,  sometimes  dramatically  so,  from  viewer  to  viewer.    AI  will  be  more  fully  discussed  in  the
section  of  this  paper  dealing  with  Stage  III.

J.   Drills/Exercises:

To  promote  flexibility  in  producing  Stage  II  responses,  an  exercise  is  usually  assigned  viewer  trainees.    This  consists  of
producing  a  list  of  at  least  sixty  sensory  response  type  words,  dealing  with  all  the  the  possible  categories  of  sensory
perceptions:  tastes,  sounds,  smells,  tactile  experience,  colors  and  other  elementary  visuals,  and  magnetic/energetic
experiences.    When  giving  the  assignment,  the  trainer  emphasizes  reliance  on  "basic"  words  as  described  above.

K.   Format:

Following  is  a  sample  Stage  II  format:

FORMAT FOR STAGE II

Name
Date
Time

(Personal Inclemancies/Advanced Visuals Declared)

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(STAGE I - Coordinate) (Ideogram) A across angle up angle

down
angle across angle
down
Solid
B Structures
(STAGE II - Sensory Data) S2
white
warm
unclean smell

AI Break
Smells Gross!

AOL Break
Smells like dirty air

(STAGE I - Coordinate) (Ideogram - Multiple) A Up angle across angle

down
Solid
B Structure
A Angle across angle
down
Solid
B Structure
A Flat
Hard

B Land
(STAGE II - Sensory Data) S2
grey
white
rough
noisy
densely populated - (Note: this is Stage IV, not II)
warm
smell of fumes

Confusion Break
"Thud" or scraping
sound. Can't tell.
tall [Note: this is the start of dimensionals]
(STAGE II - Dimensionals) high
solid
wide

AI Break
Man! This thing is
really BIG!

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Return  to  STAGE  I   Continue  to  STAGE  III

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