Phase 1 initiates target contact with the remote viewer. Phase 2 deepens that target contact by systematically activating all of the five senses: hearing, touch, sight, taste, and smell. Phase 2 is performed by having viewers cue on various aspects of the five senses, writing down the cue as well as their initial impressions. In early training (the first three days), these steps are performed slowly relative to the later pace of execution. The slowness is necessary so that the student can commit the mechanics of the process to memory. Once this is done, the speed of the execution of these steps is dramatically increased, and this increase in speed virtually always results in a remarkable improvement in accuracy.Phase 2 begins by writing "P2" in the center of the top of a new sheet of paper. In general, all phases must begin with a new sheet of paper regardless of the availability of space on the previous piece of paper. The page number is entered on the upper right corner of the new page.
The viewer begins by writing the word "sounds" followed by a colon on the left side of the page. Immediately after writing this, the viewer normally perceives some sense of sound, although this is obviously not a physical perception. It is important the viewer write this perception down immediately. To assist the new viewer during the first few days of training, it is often useful for the instructor to recite a list of sounds from which the viewer can choose one or more. Reciting a list of sound options slows down the speed of the Phase 2 process, and it is definitely leading. But such a recitation is stopped after a few days, and the benefits include giving the viewer an initial vocabulary of sounds from which a wider variety of future perceptions can be based. A useful list of sounds includes the following: tapping, musical instruments, laughing, hitting, flute, whispering, rustling, whistling, horn, clanging, voices, drop drop, drums, barking, humming, beating, trumpets, vibrating, crying, whooshing, rushing, whirring. The viewer will often perceive a variety of sounds, and it is important the viewer record all of these perceptions as rapidly as possible.
The viewer then cues on textures that are associated with the target. This is done by writing the word "textures" on the left side of the page, followed by a colon. While writing the cue or immediately afterward, the viewer will sense certain textures. The viewer then writes down all of these textures after the colon. To help build perceptual vocabulary among students, the following list of textures is read to students during the first few days of training: rough, smooth, shiny, polished, matted, prickly, sharp, foamy, grainy, slippery, wet. As before, reading this list is leading the viewer, but only temporarily. Experience has shown that viewers' perceptual skills grow more quickly if they have at least some initial vocabulary choices at hand.
Textures is a sensation of touch. The other sensation of touch which is important here is temperatures. To speed the flow of writing, the viewer cues on temperatures by writing "temps" on the left side of the page followed by a colon. As before, one or more temperatures will be perceived immediately, and the viewer must write these down at once following the colon. The list of possible temperatures that is read to the beginning student is: hot, cold, warm, cool, frigid, sizzling.
The viewer then cues on visuals. Visuals have three components. To begin, the viewer writes "visuals" on the left side of the page followed by a colon. Dropping down and indenting, the viewer writes "colors" followed by a dash (not a colon). The list of colors that is read to the viewer is: blue, yellow, red, orange, green, purple, pink, turquoise (and others). The viewer may write down colors from this list, or the viewer may perceived other colors. As before, reading this list is only done during the first few days.
Dropping down again and also indenting as with colors, the viewer writes "lum" for luminescence. As with colors, the cue is followed by a dash, not a colon. The viewer does not spell out the entire word since this would take too long, and the spelling is sufficiently complicated as to require too active participation of the conscious mind to do it correctly. The list of possibilities that is read during the first few days of training is: bright, dull, dark, glowing.
The final visual is contrasts. This cue is written out under "lum," and as with colors and luminescence, the cue "contrasts" is followed by a dash. The list of possible contrasts that is read during the first few days of training is: high, medium, low.
Dropping down again, but now returning to the left side of the page (that is, no longer indented), the viewer cues on tastes. This is down by writing down the word "tastes" followed by a colon. The list of possible tastes that is read to the beginning student is: sour, sweet, bitter, pungent, salty.
The final cue for the five senses is smell. The viewer writes the cue "smells" on the left side of the page followed by a colon. As with all other cues, the viewer will immediately perceive some smells, and these must be recorded to the left of the colon without delay. The list of possible smells that is read to the beginning viewer is: sweet, nectar, perfume, flowers, aromatic, shit, burning, dust, soot, fishy, smoke (also cold and hot).
After recording the data from the five senses as described above, the viewer will normally be drawn much closer to the target. Evidence of this is that the viewer is virtually always able to perceive many of the magnitudes that are related to the various dimensions of the target. To probe these magnitudes, the viewer first indents on the page and writes the word "mags" followed by a colon. Dropping down and indenting further, the viewer cues on the various magnitudes by simply remembering each specific cue and then writing down the perceptions. It is important that the viewer not write down the cues for the magnitudes, since these cues are long and sometimes cumbersome, and this could dangerously slow down the speed with which the data are being recorded, risking conscious mind interference in the process.
The list of cues as well as the list of possible choices that is read to beginners is as follows:
[VERTICALS] high, tall, towering, deep, short, squat
[HORIZONTALS] flat, wide, long, open, thin
[DIAGONALS] oblique, diagonal, slanting, sloping
[MASS, DENSITY, SPACE, VOLUME] heavy, light, hollow, solid, large, small, void, airy, huge, bulky
[ENERGETICS] humming, vibrating, pulsing, magnetic, electric, energy, penetrating, vortex, spinning, churning
In the above list, the cues are in square brackets, and the possible choices follow. Summarizing, the cues that are listed above in square brackets must NOT be written. The viewer simply suggests the cues mentally, and then writes down the perceptions immediately thereafter. Data for each of the five dimensional magnitudes are recorded on their own separate line, and each line is indented. The viewer must have perceived magnitude data for at least three of the five dimensions before proceeding further. If the viewer fails to perceive data for at least three of the five dimensions, the viewer is undoubtedly editing-out data (see below).
Declaring the Viewer Feeling
If the recording of the data in Phase 2 has proceeded at a fast pace, at the end of the dimensional magnitudes, the viewer will suddenly begin to perceive aspects of the target very strongly. These aspects could be anything: emotional, physical, or whatever. When this happens, the viewer's own conscious mind will have a response to the data, and it is essential that this response be declared so as to limit its ability to subjectively flavor the data that are not yet collected. This response of the conscious mind is called a "viewer feeling," and it is declared by writing the letters "VF" followed by a dash, and then the declaration of the feelings of the viewer. The viewer's feeling is not the viewer's perception of the target. Rather, it is the viewer's own feelings, his or her gut response to the target. The viewer feeling is totally subjective, and if it is not declared at this point, the remainder of the session can be fatally flawed.
The viewer must have a viewer feeling at the completion of the initial pass through Phase 2. But it is useful for the viewer to remember that any viewer feeling is satisfactory. It is not required or even desired that the viewer feeling be dramatic. There is no preference at all with regard to any specific type of viewer feeling that should be obtained. It is the viewer's gut response to the target, but such a gut response can be simply, "OK," if that is how the viewer feels at that point. A list of common examples of viewer feelings is: I feel good, disgusting, I feel happy, interesting, awful, this place stinks, this is gross, I feel light and lifting, I feel spiritual, OK, enlightening, wow! The most important thing to remember about the viewer feeling is that it is not data. It does not describe the target. It describes the viewer's emotional response to the target. By declaring the viewer feeling, we acknowledge it and remove it from the data flow.
After declaring any viewer feeling, it is required for the viewer to place the pen down at least momentarily, letting the feeling dissipate before picking up the pen again and continuing with the session. In this regard, a viewer feeling is treated similarly to a deduction. Experience has shown that any viewer feeling or deduction that is undeclared, remains a focus in the conscious mind. The longer this focus remains, the more intense it becomes. Quickly acknowledging a viewer feeling or a deduction by declaring it in writing releases this pressure. It is almost as if the conscious mind relaxes due to the fact that the viewer feeling or deduction is recorded so that it will not be forgotten.
Remote Viewing Grammar
Beginning students of remote viewing may think the requirements of punctuation and indentation style of Phase 2 are unnecessary and trivial. On the contrary, this remote viewing grammar is essential to the training process. The training program of The Farsight Institute is designed on a principle of occupying the conscious mind with activity so as to allow the subspace mind to communicate with both the body and the conscious mind with a relatively low level of interference. For example, note that the cues for sounds, textures, and temperatures begin on the left side of the page and end with a colon. But the visual cues for colors, luminescence, and contrasts are indented and end with a dash. The indentation is done for two reasons. First, it subconsciously delineates the fact that the three visual cues are each a subset of the larger category of visuals. The second reasons is that it forces the conscious mind to remember to indent. The dash is used for the same reason, which is to force the conscious mind to keep track of the SRVSM grammar. The use of the indentation and the dash in the middle of the senses data also helps to break-up these data with different punctuation so that the conscious mind does not find the task of keeping tract of the grammar too easy. This could lead to the conscious mind relegating the execution of the SRVSM grammar to the subprocessor of habit, thereby freeing it to interfere with the flow of data. The return to the earlier format after the visual data are recorded works similarly to keep the conscious mind occupied with patterns of presentation while the subspace mind controls the substance of the data.
For most individuals, a free flowing attempt to perceive information about a target without any attempt to control the activity of the conscious mind will either fail or be inconsistent with regard to repeated attempts. It is true that a deeply settled mind can accurately perceive distant information, but such minds are relatively rare. Ancient seers were among our species' first remote viewers. The best of them were considered prophets. A very deeply settled consciousness is often called "self-realized." In this ultimately desired situation, there is no bifurcated separation of awareness between the conscious and subspace minds. There is only one expanded state of awareness that includes continual perceptions into both the physical and subspace realms.
Remote viewing does not necessarily lead to this ideal situation of self realization, but it does demonstrate clearly that a more expanded structured program of growth in consciousness would be a wise ingredient to add to any plan to understand and experience the ultimate potential of human consciousness. In such a situation, SRVSM is simply an accurate note taking technique for a person who is already experientially aware of his or her total self, where the intimate knowledge of the self lead to the ability to perceive all else. While this seemingly utopian situation is not the norm for most people, it nonetheless is an achievable goal. The grammatical structure of SRVSM is precisely designed to structure the activities of the conscious and subspace minds so as to compensate for the less optimal situation in which the two aspects of the mind interact more like distant cousins who have been awkwardly introduced for the first time.
Editing-Out Data
In the beginning of training, it sometimes happens that a viewer claims not to perceive anything. This is almost always a matter of editing-out data. Editing-out data is when the conscious mind enters the remote viewing process and makes a decision that a piece of data cannot be correct. This is usually perceived as doubt in the mind of the remote viewer. Editing data is only a phenomenon of the conscious mind, since the logical evaluation of ideas is not normally a function of the subspace mind. Moreover, the conscious mind will usually never reject one of its own ideas. Thus, data which are edited-out by the conscious mind are almost always correct data.
To assist the student, it is essential for the instructor to encourage the student not to edit-out anything, and to write down the data immediately. Indeed, I have occasionally insisted that a student simply write down anything, and immediately, even as I stood over his or her shoulder in the manner of a domineering schoolmaster. This usually sends the student into a state of some confusion with regard to how to handle this new and unexpected situation. After I point to the paper and insist that the student write something immediately, the result nearly always is the rushed entry of very accurate data. I then congratulate such students mildly and encourage them to continue hurriedly while I move farther away from them so as to foster their independence from my (or the monitor's) presence.
This raises an important point relevant to the training process of remote viewing. It does not much matter how the conscious mind is occupied as long as the viewer stays within the structure of the remote viewing protocols. This means that the viewer needs only to keep track of what is to be done next, and to mechanically perform that duty correctly. The conscious mind can literally be quite chaotic and the remote viewing process still will proceed as planned with a significant amount of accurately recorded data. Emotions and intellectualism are phenomena of the conscious mind. Their presence do not necessarily imply an interference with the subspace derived flow of data. Chaotic emotions, doubt, worry, dismay, and other thoughts only make the conscious mind less capable of editing out data coming from the subspace mind. Thus, the trainees need to be encouraged not to worry about whatever their conscious minds are thinking during the remote viewing session. They must simply stay in structure, which means to continue the mechanics of the process while ignoring everything else.
The above mentioned unconcern regarding mental pandemonium in the conscious mind of a trainee remote viewer is not transferable to the situation of a professional remote viewer. We encourage professional remote viewers to develop conscious minds that are deeply settled. Settled minds have less noise and can perceive targets more profoundly. Deeply settled conscious minds have less difficulty perceiving difficult or abstract aspects of targets in general, and our experience strongly suggests that such minds are less prone to editing-out accurate data.
At The Farsight Institute, we have specific recommendations regarding a meditation practice that achieves these aims. But this is often not an option for a trainee remote viewer who may not yet follow these recommendations. Thus, we encourage trainees not to worry about whatever noise their minds may hold while learning the basic mechanics of the Farsight Protocols, knowing that speeding up the execution of the protocols after the mechanics are understood will increase the accuracy of the procedures to an acceptable level for a novice.
A Summary of Phase 2
Sounds: tapping, musical instruments, hitting, flute, whispering, rustling, whistling, horn, clanging, drop drop, drums, barking, humming, beating, trumpets, vibrating, voices, laughing, crying, whooshing, rushing, whirring
Textures: rough, smooth, shiny, polished, matted, prickly, sharp, foamy, grainy, slippery, wet
Temperatures: hot, cold, warm, cool, frigid, sizzling
Visuals:
Colors - blue, yellow, red, orange, green, purple, pink, turquoise (and others)Tastes: sour, sweet, bitter, pungent, saltyLuminescence (lum) - bright, dull, dark, glowing
Contrasts - high, medium, low
Smells: sweet, nectar, perfume, flowers, aromatic, shit, burning, dust, soot, fishy, smoke (also cold and hot)
Magnitudes (Do not write the cues in square brackets. Cue mentally only.):Viewer Feelings (VF) - The viewer must have a VF at this point before moving on to Phase 3. The VF reflects the viewer's own feelings about the target or the target site. Typical VF's could include: feels good, disgusting, I feel happy, interesting, awful, this place stinks, this is gross, OK, feels light and lifting, feels spiritual, enlightening, wow! After the VF, the viewer must put the pen down (thereby disengaging the signal) and take the break (even if momentary). More powerful VF's require longer breaks. But typically, the break is only a few seconds.[VERTICALS] high, tall, towering, deep, short, squat
[HORIZONTALS] flat, wide, long, open, thin
[DIAGONALS] oblique, diagonal, slanting, sloping
[MASS, DENSITY, SPACE, VOLUME] heavy, light, hollow, solid, large, small, void, airy, huge, bulky
[ENERGETICS] humming, vibrating, pulsing, magnetic, electric, energy, penetrating, vortex, spinning, churning
