Remote Viewing Anleitung Dokumentation teilen
Die Technik des Remote Viewing (deutsch: Fernwahrnehmung) wurde Mitte der er Jahren vom amerikanischen Militár in Auftrag gegeben und das Remote. Remote Viewing Anleitung eBook: Menzer, Sascha: realestate-investments.co: Kindle-Shop. Handbuch für Remote Viewing bzw. Fernwahrnehmung. Remote-Viewing-School-Logo Das "Arbeitshandbuch der Informations-Recherche-Technik - Aus der. (Weiterreichende Informationen sowie eine Anleitung von den stages finden sie in dem Buch von Manfred Jelinski "Remote Viewing - das Lehrbuch. Fernwahrnehmung (engl. Remote Viewing oder Remote Perception) ist die Bezeichnung für eine bestimmte Form des Hellsehens, eine hypothetische Art von.
Handbuch für Remote Viewing bzw. Fernwahrnehmung. Remote-Viewing-School-Logo Das "Arbeitshandbuch der Informations-Recherche-Technik - Aus der. Die Technik des Remote Viewing (deutsch: Fernwahrnehmung) wurde Mitte der er Jahren vom amerikanischen Militár in Auftrag gegeben und das Remote. Die Spielregel beim Remote Viewing lautet jedoch: Was nicht auf dem Papier daran, dass Ihnen Remote Viewing gelingt, wenn Sie dieser Anleitung folgen. The monitor will say "Acquire the Vegas Vaults New, " to which the viewer responds approximately, "A large grey structure. Drawing : The act of representing something by line. Der sogenannte Free. Limen : The threshold of consciousness; the interface between the subconscious and conscious. Though it does occasionally occur, something about the extremely click sensory nature of the data bits being received strongly tends to avoid AOL. To Track : To trace by means of vestiges, evidence f. 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 click to see more the viewer relating to the land, then another group relating to the water.
Remote Viewing Anleitung - InhaltsverzeichnisDamit lernst du negative Gedanken zu vermeiden und deine Wünsche positiv zu formulieren. Search this site. Systematisch wurde die Fernwahrnehmung indessen erst von den US-Amerikanern untersucht. Die Spielregel beim Remote Viewing lautet jedoch: Was nicht auf dem Papier daran, dass Ihnen Remote Viewing gelingt, wenn Sie dieser Anleitung folgen.
Remote Viewing Anleitung VideoAuch - wenn Sie bisher überhaupt keine Erfahrung in der Technik des Remote Viewing gesammelt haben https://realestate-investments.co/online-casino-william-hill/beste-spielothek-in-allmosen-finden.php können Sie damit beginnen - die Technik Golden Dream. Bestimmte Evaluierungen der Forschungsergebnisse ergaben keine Hinweise darauf, dass Fernwahrnehmungsfähigkeiten trainierbar sind. Elias Merhige aus dem Jahr Es gibt bezüglich der Anwendungsmöglichkeiten von Remote Viewing keine Grenzen. Der Viewer kann sich also beispielsweise in Kartenspiel Allein andere Stadt, ein anderes Land oder sogar auf einen fremden Planeten versetzen. Eine hohe Anzahl bedeutet nicht zwangsweise, dass dieser Autor auch viel Inhalt zum Artikel beigesteuert hat. Es gab immer wieder Berichte über Menschen, die angeblich Geschehnisse in der Ferne richtig angaben. Somit sind unter anderem Marktentwicklungen und Kursentwicklungen von Aktien vorhersehbar. Anhand der Bilder, die der Viewer beschreibt, kann man nun ablesen, welche Ereignisse eintreffen und welche nicht. Der Versuchsbericht wurde im Dezember veröffentlicht. Erste Free-Response-Versuche unternahmen A. Weitere Anwendungsgebiete für Remote Viewing sind beispielsweise die Lösungsfindung für komplexe This web page aus dem Bereich Wirtschaft Business Intelligence - Marktforschung - Ideenfindung - Patententwicklung - Entwicklung von Zukunftstechnologien und Erfindungen - Persönlichkeitsentwicklung - medizinische Diagnose und Therapieentwicklung Spiel Des Jahres Erforschung weit entfernter Himmelskörper - usw. Es wird beim Remote Viewing nach einem klar strukturierten und check this out vielen tausenden Experimenten und Versuchsreihen entwickelten Protokoll vorgegangen. Dies war einer der erfolgreichsten Versuchsansätze der Parapsychologie der vergangenen Jahrzehnte. Es wird beim Click the following article Viewing nach einem klar strukturierten und in vielen tausenden Experimenten und Versuchsreihen entwickelten Protokoll vorgegangen. Für weitere Informationen zu den Büchern bitte einfach die Links anklicken. Entgegen der Behauptung von Skeptikern handelt es sich beim Remote Viewing um eine real funktionierende Technik Real Taboo die weder learn more here Glauben noch auf Fantasie beruht. B mit einem Ereignis "verknüpft" sind, welche in der Zukunft eintreffen können. Erste Free-Response-Versuche unternahmen A. Es gab immer wieder Berichte über Menschen, die angeblich Geschehnisse in der Ferne richtig angaben. Remote Viewing wird deshalb auch als "Fernwahrnehmung" bezeichnet. Dieses Protokoll ermöglicht einen Zugriff des Viewers deutsch: Sehers auf Informationen - die mit herkömmlichen Recherche-Methoden nicht zu erlangen sind. Die offizielle Begründung für die Einstellung von Stargate lautete, die Arbeit der Gruppe habe nicht viel gebracht. Somit ist es ihm ebenso Beste Spielothek in Niedergaul in die Vergangenheit zu reisen, wie auch in die Zukunft zu reisen. Remote Viewing wird in sogenannten Sessions Sitzungen durchgeführt. Namensräume Seite Diskussion. Atomraketen, geheime Militärgelände more info unterirdische Stationen zu entdecken.
It must in other words make a "logical" assessment based on the impressions being received. Essentially, the mind jumps to one or a number of instantaneous conclusions about the incoming information without waiting for sufficient information to make an accurate judgement.
This process is completely reflexive, and happens even when not desired by the individual involved. Instead of allowing wholistic "right-brain" processes through which the signal line apparently manifests itself to assemble a complete and accurate concept, untrained "left brain" -based analytic processes seize upon whatever bit of information seems most familiar and forms an AOL construct based on it.
For example, a viewer has been given the coordinates to a large, steel girder bridge. A flash of a complex, metal, manmade structure may impinge on the limenary regions of the viewer's mind, but so briefly that no coherent response can be made to it.
The conscious mind, working at a much greater speed than the viewer expects, perceives bits and pieces such as angles, riveted girders, and a sense of being "roofed over" and paved, whereupon it suggests to the physical awareness of the viewer that the site is the outside of a large sports stadium.
The "image" is of course wrong, but is at least composed of factual elements, though these have been combined by the viewer's over-eager analytical processes to form an erroneous conclusion.
Learning Theory 1. Overtraining : The state reached when the individual ' s learning system is over-saturated and is "burned out y " analogous to a muscle that has been overworked and can no longer extend or contract until it is allowed to rest and rebuild fibers that have been broken down by the stress, or reinforce those that have been newly acquired by new demands placed upon the muscle.
Absorption : Assimilation, as by incorporation or by the digestive process. Cognitron : A cognitron is an assemblage of neurons, linked together by interconnecting synapses , and which when stimulated by the mind 1 s recall system produce a composite concept of their various subparts.
Each neuron is charged with an element of the overall concept, which when combined with the elements of its fellow neurons produces the final concept which the cognitron represents.
As a human learns new facts, skills or behaviors, neurons are connecting into new cognitrons, the connecting synapses of which are more and more reinforced with use.
Neuron : "A nerve cell with all its processes. Neurons are the basic element in the formation of cognitrons, and may be linked into varying configurations by the formation or rearrangement of synapse chains.
Synapse : The interstices between neurons over which nerve impulses must travel to carry information from the senses, organs, and muscles to the brain and back, and to conduct mental processes.
Learning Curve : The graphic representation of the standard success-to-session ratio of a remote viewer trainee.
The typical curve demonstrates high success for the first one to a few attempts, a sudden and drastic drop in success, then a gradual improvement curve until a relatively high plateau is reached.
First-Time Effect : In any human activity or skill a phenomenon exists known as "beginner's luck.
This effect Is hypothesized to result from the Initial excitation of hereditary but dormant psl-conductlng neuronal channels which, when first stimulated by attempted psychoenergetlc functioning "catch the analytic system off guard, " as It were, allowing high-grade functioning with little other system Interference.
Once the Initial novelty wears off, the analytic systems which have been trained for years to screen all mental functions attempt to account for and control the newly awakened neural pathways, thereby generating Increasing amounts of masking "mental noise, " or AOL.
Noise : The effect of the various types of overlay, Inclemencies, etc. Noise must be dealt with properly and In structure to allow the viewer to accurately recognize the difference between valid signal and his own Incorrect Internal processes.
Discussion: Learning theory for RV methodology Is governed by the Idea that the student should "quit on a high point. Recent developments In learning theory which have been applied with particular success In sports training methodology Indicate that the rote repetition concept tends more to reinforce Incorrect performance as opposed to developing the proper behavior or skill.
Much success has been realized by Implementing the concept of "quitting on a high point. The phenomenon of overtraining Is a very real danger In the training cycle, generally brought about by pushing ahead with training until the learning system of the viewer is totally saturated and cannot absorb any more.
This results in system collapse, which in effect is a total failure to function psychically at all. To avoid this, the normal practice has been to work an appropriate number of sessions a day anywhere from one to several, depending on each individual trainee's capacity and level of training and experience for a set number of days or weeks also individually dependent , with a lay off period between training periods to allow time for assimilation or "absorption.
It is extremely important that the viewer inform the monitor when he is feeling especially good about his performance in remote viewing training, so that a training break may be initiated on this high point.
To continue to push beyond this threatens a slide into overtraining. It is very important that should the viewer in the course of the training session become aware that he has experienced some important "cognition" or understanding , or if the monitor perceives that this is the case, the session must here also be halted.
This allows time both for the cognition to be fully matriculated into the viewer's system and for the accompanying elation of discovery to dissipate.
The fact that CRV methodology is arranged into six distinct stages implies that there is a learning progression from one stage to the next.
To determine when a student viewer is ready to advance to the next stage, certain milestones are looked for. Though the peculiarities of each stage make certain of these criteria relevant only to that specific stage, general rules may still be outlined.
When a viewer has consistently demonstrated control and replication of all pertinent stage elements and has operated "noise free" i.
Essay writing is an important part of the CRV training, and serves as a sort of intellectual " object! Through student essays the instructor is able to determine how thoroughly and accurately the student has internalized the concepts taught.
Reference Material: 1. Learning Theory: a. Fukushima, K. Shevrln, H. West lake, P. Concept: "Structure" is a singularly Important element in remote viewing theory.
The word "structure" signifies the orderly process of proceeding from general to specific in accessing the signal line, of objectifying in proper sequence all data bits and RV-related subjective phenomena i.
Structure is executed in a formal ordered format sequence using pen and paper. A sample format will be provided as each stage is discussed in turn f since different elements are used in each.
Definitions and Discussion: 1. Inclemencies : Personal considerations that might degrade or even preclude psychic functioning.
Muscle pains, colds, allergies, menstrual cramps, hangovers, mental and emotional stress, etc. Only hunger and a pressing need to eliminate body wastes cause the system to totally not function.
It is important, though, that the viewer identify and declare any inclemencies either at the first of the session or as they are recognized, since unattended agendas such as these can color or distort the viewer r s functioning if not eliminated from the system through object!
Preferably, the monitor will ask the viewer if he has any personal inclemencies even before the first iteration of the coordinate so as to purge the system as much as possible before beginning the session proper.
There is evidence that an additional category of inclemencies exist, which we might refer to as environmental inclemencies.
Extremely low frequency ELF electromagnetic radiation may have a major role in this. Experience and certain research suggests that changes in the Earth 1 s geomagnetic field — normally brought about by solar storms, or "sunspots, " may degrade the remote viewer T s system, or actually cause it to cease functioning effectively altogether.
On-going research projects are attempting to discover the true relationship f If any, between solar storms, ELF, and human psychic functioning.
Object Iflcat Ion : The act of physically saying out loud and writing down Information. In this methodology, objectlflcatlon serves several Important functions.
First, It allows the Information derived from the signal line to be recorded and expelled from the system, freeing the viewer to receive further Information and become better In tune with the signal line.
Secondly, It makes the system Independently aware that Its contributions have been acknowledged and recorded. Thirdly, It allows re-Input of the Information Into the system as necessary for further prompting.
In effect, objectlflcatlon "gives reality" to the signal line and the Information It conveys. Finally, objectlflcatlon allows non-signal line derived material Inclemencies, AOLs, etc.
A full discussion may be found In the Stage I section below. Feedback : Those responses provided during the session to the viewer to Indicate If he has detected and properly decoded site-relevant Information; or, Information provided at some point after completion of the RV session or project to "close the loop" as It were, providing the viewer with closure as to the site accessed and allowing him to assess the quality of his performance more accurately.
In-sesslon feedback, with which we will be here most concerned, Is usually only used extensively In earlier stages of the training process, and has several Interconnected functions.
The very nature of the RV phenomena makes It often only rather tenuously accessible to one's physically-based perceptions, and therefore difficult to recognize.
Feedback Is provided after correct responses to enable the viewer to Immediately Identify those perceptions which produced the correct response and associate them with proper psychic behavior.
Secondly, It serves to develop much-needed viewer confidence by Immediately rewarding the viewer and letting him know that he Is being successful.
Finally, It helps keep the viewer on the proper course and connected with the signal line, preventing him from falling Into AOL drive and wandering off on a tangent.
Correct abbreviated "C" : The data bit presented by the trainee viewer Is assessed by the monitor to be a true component of the site. Probably Correct "PC" : Data presented cannot be fully assessed by the monitor as being accurate site Information, but It would be reasonable to assume because of Its nature that the Information Is valid for the site.
Near Site "N" : Data objectified by the viewer are elements of objects or locations near the site. Site "S" : Tells the former that he has successfully acquired and debriefed the site.
In elementary training sessions, this usually signifies the termination of the session. At later stages, when further Information remains to be derived from the site, the session may continue on beyond full acquisition of the site.
Silence : When Information objectified by the trainee viewer Is patently Incorrect, the monitor simply remains silent, which the viewer may freely Interpret as an Incorrect response.
In line with the learning theory upon which this system Is based, the Intent Is to avoid reinforcing any negative behavior or response.
Therefore, there Is no feedback for an Incorrect response; and any other feedback Information Is strictly limited to those as defined above.
It should be noted here that the above refers to earlier stages of the training process. Later stages do away with In-sesslon feedback to the viewer, and at even later stages the monitor himself Is denied access to any site Information or feedback until the session Is over.
On rare occasions, the Ideogram will be re-presented even when It has been properly decoded. This almost Inevitably occurs If the site Is extremely uniform, such as the middle of an ocean, a sandy desert, glacier, etc.
An AOL Is usually wrong, especially In early stages, but often does possess valid elements of the sltei 5! AOLs may be recognized In several ways.
First, If there Is a comparator present "It looks like. Hesitation In production of the "B" component In Stage I coordinate remote viewing, or a response that Is out of structure anywhere In the systemi 7!
Finally, the monitor or viewer can frequently detect AOL by the Inflection of the viewer's voice or other micro behaviors. This serves to acknowledge to the viewer's system that the AOL has been recognized and duly recorded and that It Is not what Is desired, thereby purging the system of unwanted noise and debris and allowing the signal line In Its purity to be acquired and decoded properly.
Confusion Break often, "Conf Bk" : When the viewer becomes confused by events In his environment or information in the signal line to the degree that impressions he Is receiving are hopelessly entangled, a Confusion Break is called.
Whatever time necessary is allowed for the confusion to dissipate, and when necessary the cause for confusion is declared much like It Is done with AOL.
The RV process Is then resumed with an iteration of the coordinate. Too Much Break "TM Break" : When too much information is provided by the signal line all at once for the viewer to handle, a "Too Much Break" is called and written down objectified , telling the system to slow down and supply information in order of importance.
After the overload Is dissipated, the viewer may resume from the break, normally with the reiteration of the coordinates.
A too much break is often indicated by an overly elaborate ideogram or ideograms. Once the AOL-Drive is objectified, the break time taken will usually need to be longer than that for a normal AOL to allow the viewer to fully break contact and allow to dissipate the objectionable analytic loop.
Bi-location Break Bilo Bk : When the viewer perceives he is too much absorbed in and transferred to the site and cannot therefore appropriately debrief and objectify site information, or that he is too aware of and contained within the here-and-now of the remote viewing room, only weakly connected with the signal line, a Bilo break must be declared and objectified to allow the viewer to back out, and then get properly recoupled with the signal line again.
Break Break : If at any point in the system the viewer must take a break that does not fit into any of the other categories, a "Break" is declared.
It has been recommended that a break not be taken if the signal line is coming through strong and clear.
If the break is extensive — say for twenty minutes or more, it is appropriate to objectify "Resume" and the time at the point of resumption.
Immediately underneath he briefly objectifies in one or a few words the cause or content of what occasioned the necessity for a break. Summary: Structure is the key to usable RV technology.
It is through proper structure-discipline that mental noise is suppressed and signal line information allowed to emerge cleanly. As expressed by one early student, "Structure!
Content be damned! As long as proper structure is maintained, information obtained may be relied on. One of the primary duties of both monitor and viewer is to insure the viewer maintains proper structure, taking information in the correct sequence, at the correct stage, and in the proper manner.
Concept: Any given site has an overall nature or "gestalt, " as It Is referred to below, that makes It uniquely what It Is.
In Stage I, the remote viewer Is taught to acquire the signal line, attune himself to It, and proceed to decode and objectify this site getalt and the major pieces of Information that pertain to It.
A properly executed Stage I Is the very foundation of everything that follows after It, and It Is therefore of utmost Importance to maintain correct structure and achieve an accurate Stage I concept of the site.
Major Gestalt : The overall Impression presented by all elements of the site taken for their composite Interactive meaning. The one concept that more than all others would be the best description of the site.
The Ideogram Is the spontaneous graphic representation of the major gestalt, manifested by the motion of the viewer's pen on paper, which motion Is produced by the Impingement of the signal line on the autonomic nervous system and the reflexive transmission of the resultant nervous energy to the muscles of the viewer's hand and arm.
The objectified Ideogram has no "scale; rr that Is, the size of the Ideogram relative to the paper seems to have no relevance to the actual size of any component at the site.
For example, the monitor has selected, unknown to the viewer, a mountain as the trainee's site. At the Iteration of the coordinate, the trainee produces an appropriate Ideogram, and responds verbally, at the same time as he writes It: "Rising up, peak, down.
He then says "solid, " having experienced the site as being solid as opposed to fluid or airy. This Is the "feeling" component of the Stage 1 process.
There are at least five possible types of feelings: solidity, liquidity, energetic, airiness that Is, where there Is more air space than anything else, such as some suspension bridges might manifest , and temperature.
Other feeling descriptors are possible, but encountered only In rare circumstances and connected with unusual sites.
These components and how they are expressed In structure will be discussed more fully below. Basic Stage I coordinate remote viewing sites generally comprise an area Isolated by some five miles on a side and possess easily Identifiable major gestalts that may be easily decoded In simple Stage I sessions.
All sites have Stage I gestalts, but for training Stage I perceptions these "simple" sites are selected. Types of Ideograms: There are four types of Ideograms: 1.
Double : Two basically parallel marks or lines. Produces usually at least three sets of "A" and "B" components : one for the area between the marks, and one each for the areas on either side of the marks.
Two other "A" and "B" components may be present as well, one for each of the marks. Railroad tracks, roads, canals, etc.
Multiple : Two or more different marks, each producing Its own set or sets of "A" and "B" components. Such an Ideogram may be obtained when there Is more than one major gestalt present at a given site — such as a lake, city and mountain — all within the area designated by the coordinate.
This type of Ideogram may occasion the necessity of taking a "Too Much Break" because of the volume of Information contained In more than one major gestalt.
Caution must be exercised here, since a single mark may actually represent either a double or multiple Ideogram, but may be mistaken for a single Ideogram.
To ascertain this, the signal line must be prompted by placing the pen on the mark and also to either side to determine If more than one "A" and "B" component Is also present.
Composite : "Pen leaves paper more than twice, makes Identical marks, " and produces one set of "A" and "B" components. Things such as orchards, antenna fields, etc.
For example, the Gobi desert being predominantly flat, wave sand, would produce a motion portion of the Stage I "A" Indicating a horizontal Ideogram.
The Empire State Building, however, would produce some sort of vertical response such as "up, angle, " In the motion portion of the "A, " Indicating a vertical Ideogram.
However, a crucial point to remember Is the objectlflcatlon of the Ideogram Is completely Independent either of what It looks like or Its orientation on paper.
Simply observing how the Ideogram looks on paper will not give reliable clues as to what the orientation of the Ideogram might be. The Ideogram objectified as "across, flat, wavy" for the Gobi Desert might on the paper be an up and down mark.
The Ideogram for the Empire State Building could possibly be represented as oriented across the paper. The viewer must learn to sense the orientation of an ideogram as he executes it.
If unsuccessful on the first attempt, the ideogram may be "re-prompted" by moving the pen along it at the same tempo as it was produced, with the viewer being alert to accurately obtain the missing information.
This presents itself as a spontaneous mark produced on the paper by the motion of hand and pen. Sample responses may be "mountain, " "water, " "structure, " "land, " "ice, " "city, " "sand, " "swamp, " etc.
Phases I and II: Stage I training is divided into two phases, determined by the number and types of major gestalts produced by the site used.
For example, mountain, city, or water. Phase II includes sites with more than one major gestalt, and therefore some sort of identifiable interface: a beach on an ocean, an island, a city by a river, or a mountain with a lake.
Drills: Most viewers tend to establish well-worn patterns in executing ideograms on paper. If such habits become established enough, they can actually inhibit proper handling of the signal line by restricting ease and flexibility In proper Ideogram production.
In order to counter this tendency, training drills may occasionally be conducted. These drills use paper with a larger number of rectangles, outlined In black, of different sizes, proportions, and orientations I.
As he comes to each of these rectangles on the paper In turn, the viewer Is directed to execute an Ideogram for a given site I.
Each time the directions may vary — the Ideogram will have to be executed from top to bottom, right to left, left to right, bottom to top, diagonally, etc.
In the case of Ideograms that do not have a directional emphasis, such as one formed by a circle, a grouping of dots, etc.
The Ideogram must be executed as rapidly as possible, without any hesitation or time taken to think. The purpose of this exercise Is obviously to encourage spontaneity and Increase facility with pen on paper; though It Is unlikely that real signal line connection occurs, the Ideograms created by the near-totally reflexive actions Involved In the drill approach actual archetypal Ideogrammatlc styles.
As stated above, the coordinate or other prompting Information Is written In the left third of the paper, the Ideogram approximately In the middle third though because of the spontaneous nature of the Ideogram, It may sometimes be executed much closer to the prompting data, sometimes even being connected to It , and the "A" and "B" components In the right third.
AOL and other breaks are declared near the right edge of the paper. This format constitutes the structure of Stage I and when properly executed, objectifies "gives reality" to the signal line.
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.
Sense : Any of the faculties, as sight, hearing, smell, taste, or touch, by which man perceives stimuli originating from outside or inside the body.
Sensory : Of or pertaining to the senses or sensations. Tactile : Of, pertaining to, endowed with, or affecting the sense of touch. Perceptible to the touch; capable of being touched; tangible.
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.
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. 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.
Clusters: Stage II responses tend to come in groups or "clusters" of words — usually 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 lis 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.
When objectified words go beyond the "basics" they are considered "out of structure" and therefore unreliable. 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.
Dimensionals : As the viewer proceeds through Stage II and approaches Stage III y 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.
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.
If these more complex dimensionals are reported during Stage II they are considered "out of structure" and therefore unreliable.
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.
In normal session structure, it occurs only after two or more dimensional s 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 r s personal, emotional response to the site: "How the site makes you feel. When giving the assignment, the trainer emphasizes reliance on "basic" words as described above.
Can't tell. This thing is really BIG! Dimensionals begin to emerge and the threshold is reached for the transition into Stage III.
The shift into full Stage III is triggered by aesthetic impact see below. It is after this point that the true dimensionality of the site may begin to be expressed.
This differs from dimensional elements encountered previously , in that Stage II dimensionals are individual aspects of the site, while Stage III dimensionality is a composite of inherent site aspects.
The concept of "the viewer r s perspective" must, however, be avoided because in Stage III the viewer has not yet reached the point where complete comprehension and appreciation of the size, shape, and dimensional composition of the overall site can be ascertained.
Generally, the viewer himself is not precisely aware of his own perceptual relationship to the site and therefore not consciously aware of the true relationship of all the dimensional components he is able to debrief from Stage III.
As is discussed in various sections below, he must rely on the various tools available in Stage III to obtain and organize the increased information he is perceiving.
Aesthetic : Sensitivity of response to given site. Drawing : The act of representing something by line, etc.
Idea : Mental conception; a vague impression; a hazy perception; a model or archetype. Impact : A striking together; changes, moods, emotions, sometimes very gross, but may be very weak or very subtle.
Mobility : The state or quality of being mobile. Motion : The act or process of moving. Perceptible : That which can be grasped mentally through the senses.
Prompt : To incite to move or to action; move or inspire by suggestion. Render inQ : Version; translation often highly detailed.
Sketch : To draw the general outline without much detail; to describe the principle points idea of. To Track : To trace by means of vestiges, evidence f etc.
Vision : One of the faculties of the sensorum f connected to the visual senses out of which the brain constructs an image.
Locales such as bridges, monuments, airports, unusual natural formations, etc. The Six Primary Dimensionals : 1.
Diagonal : Something that extends between two or more other things; a line connecting two points of intersection of two lines of a figure.
Horizontal : Parallel to the plane of the horizon. Mass : Extent of whatever forms a body — usually matter. Space : Distance interval or area between or within things.
Volume : A quantity; bulk; mass; or amount. Aesthetic Impact: As the aperture widens rapidly from Stage II, a virtual avalanche of site information begins to impact on the viewer's unconscious.
The cumulative effect of all this detail is to trigger a subjective response from the viewer. This opening of the aperture and subsequent subjective response is called Aesthetic Impact AI and is the viewer's subjective emotional response to the site.
It is best described as "how the site makes the viewer feel. It may be experienced and expressed in a variety of ways.
A simple exclamation of "Wow! On the other hand, such a site might just as easily spark a feeling of vertigo or fear of falling, or cause one to remark, ":This is really tall or deep!
A pulp mill might trigger an AI reaction of revulsion because of the nauseating smells. Or a comprehension of the grandeur or squalor of a site might cause one to have a sudden appreciate of beauty or ugliness.
Other examples of AI might be claustrophobia, loneliness, fright, pleasantness, relaxation, enjoyment, etc. AI need not be pronounced to be present; in fact, it may often be quite subtle and difficult to recognize.
It may sometimes be a sudden, mild cognitive recognition of the abrupt change in perspective, or a slight surprise or alteration of attitude about the site.
Some viewers who in the past have had little experience with direct contact with their emotions may have difficulty recognizing that they experience AI, and may even be convinced it doesn r t happen to them.
Such individuals must exercise a great deal of caution not to sublimate or suppress AI recognition, and require additional exposure to AI to help them learn to recognize and declare it appropriately.
The monitor also has a role to play in helping the viewer to recognize AI. Body language, eye movement, and specific speech patterns can all be cues to the experienced monitor that AI is present.
The monitor must draw the viewer's attention to the existence of an undeclared AI when he observes the "symptoms" of an AI unrecognized by the viewer.
It is extremely Important to properly recognize and declare objectify AI, since how one deals with it can determine the entire course of the session from that point on.
The viewer may not work throucjh AI. Aesthetic Impact must be recognized, declared, and allowed to thoroughly dissipate. Should the viewer err and attempt to work through AI, all information from that point on will be colored by the subjective filter of the emotional experience encountered, and AOL Drive and AOL "Peacocking" discussed under AOL, below can be expected to arise.
AI is dealt with in the following manner. Moving through Stage II, the viewer begins to debrief a cluster of two or more basic dimensionals.
He suddenly realizes that the aperture is expanding, and that in conjunction he is having a subjective emotional reaction to the site — whether pronounced or mild.
He then states aloud as he objectifies on his paper "AI Break. Declarations can be everything from a simple "Wow!
The viewer by taking this "AI Break" effectively disengages himself temporarily from the signal line and allows the emotional response to dissipate.
The time required for this can vary from a few brief seconds for a mild AI to hours for one that is especially emphatic.
It is important to note that, though many sites elicit essentially the same response in every individual who remote views it, each person is different than every other and therefore under certain circumstances and with certain sites AI responses may differ significantly from viewer to viewer.
One example of this that has frequently been related is a small sandy spit off of Cape Cod, Massachusetts. One viewer, a highly gregarious woman who enjoys social interactions , when given the site responded that it made her feel bleak, lonesome, depressed, abandoned.
On the other hand, a viewer who had spent a great deal of his time in nature and away from large numbers of other humans experienced the site as beautiful and refreshing.
Since AI is subjective, such variations are not unexpected, and under the right circumstances [are] usually appropriate.
The first is the idea of motion at the site: an object or objects at the site may be observed as they shift position or are displaced from one location to another.
For example, there may be automobile traffic present, a train moving through the area, or whirling or reciprocating machinery, etc.
This ability makes possible the projection of trackers and sketches as described below. An additional feature this introduces is the ability to shift focus of awareness from one site to another using a polar coordinate concept.
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