The MatrixPhase 4 is where some of the most useful and descriptive remote viewing information is obtained. It is impossible, however, to enter Phase 4 without first completing Phases 1, 2, and 3. Phase 4 only works given strong contact between the viewer and the target. The benefit of scientific remote viewing is being able to collect rich and accurate data. The cost is time and effort, and one cannot reap the benefit without paying the price. Attempting to enter Phase 4 without first systematically completing all of the earlier phases will inevitably produce unreliable and/or inconsistent results.
In Phase 4, remote viewers work with a data matrix. Each column of the matrix represents a certain type of data, and viewers probe these columns to obtain the data in a fashion very similar to that which is done in Phase 1 to probe the ideogram. Phase 4 always begins with a new sheet of paper. Unlike the earlier phases, the paper is positioned in the landscape orientation (lengthwise is horizontal). The viewer puts the page number in the upper right hand corner, and in the center at the top of the page the viewer writes "P4."
Directly under the label "P4" and spread over the width of the page from left to right is written the column identifiers of the Phase 4 matrix. There are nine identifiers, and thus there are nine columns. The first three columns represent data of the Phase 2 variety. The first of these three represents data relating to the five senses of hearing, touch, sight, taste, and smell. This column is labeled with an "S." The next column is labeled "M" which represents the magnitudes of the five dimensions as given in Phase 2. The third column is labeled "VF," which represents any viewer feelings.
The fourth column has no parallel in any of the earlier phases. It is labeled "E" which stands for "emotionals." Any emotions that the viewer perceives as originating from subjects who are at the target location are clearly emotionals. But emotionals can be much more. When intense emotions are experienced at a site, it is common for individuals to perceive these emotions even long after the fact. It is said that General Patton was able to intuitively feel the emotions of battle in an area even if the time of the battle was centuries earlier. Furthermore, some people feel "funny" about a site because of something that is to happen there in the future, not in the past. Thus, places vibrate with an emotional resonance that is compatible with events that have happened or will happen. In the slang of the day, certain places have "vibes."
Remote viewers are capable of perceiving these vibrational aspects of a target location, and they are all grouped together under the single category of emotionals. Thus, emotionals can be current emotions of individuals located at the target, or they can relate to another time, such as when there is residual emotional resonance that persists in a location but originates in the past. For example, if a remote viewer were to be sent to the location of the Nazi concentration camp of Auschwitz at the current time (that is, not in the past), the viewer would normally perceive the buildings, the beds, the idea of a museum, and so on. But the viewer would also possibly perceive the emotions of pain and suffering as relating to the site. Some viewers, depending on the flexibility allowed them, would be able to follow the emotions back in time to locate the origin of these feelings.
The emotionals column is strategically placed next to and after the column for viewer feelings to help the viewers distinguish between these two types of emotionally related forms of data. Viewer feelings are handled differently than emotionals data as explained below, and it is important that they not be confused so as to prevent the session degenerating into a stream - of - consciousness purging of the viewer's own reactions to a target. Following the emotionals column is a column for data describing physical things. Physical data can include perceptions of people, buildings, chairs, tables, water, sky, air, fog, planets, stars, cars, or anything else. The column for physical data is labeled "P."
Remote viewers have long determined that there is something real to the unseen. In general, the realm of the unseen is identified by the catch - all category "subspace." This realm is at least as complex as the physical realm. Basically, remote viewers have perceived that everything that exists in the physical realm also existsplus much morein the subspace realm. Since remote viewers are using their subspace minds to collect data, it is natural that some of that which is perceived will relate to the subspace realm. To differentiate clearly between physical data and subspace data, the subspace column is placed adjacent to the physicals column, and it is identified with the letters "Sub."
It is important to understand that subspace data represent things that really are not intangibles; just because our physical eyes cannot see things in subspace does not mean that they do not exist. Subspace, and all that it contains, is just as real as is everything that is physical. Novice remote viewers normally need to practice viewing certain targets that have a large degree of subspace activity in order to become sensitive to subspace perceptions. This normally begins in the first week of training, but this exposure is continual, and improvements in perception follow a normal learning curve relating to a viewer's regularity of practice.
Data entered into the subspace column are exactly analogous to data entered into the physicals column. Subspace "things" are like physicals; they are just in subspace. If a viewer perceives other data that are subspace related, but not "things," then the viewer places an "S" in the subspace column and then enters the data into the correct column at the same horizontal level as the "S." This allows the analyst to differentiate between subspace and physical related data entries that occur throughout the matrix. For example, emotions of subspace beings would be entered in the emotionals column, with an "S" being placed at the same horizontal level as these data but in the subspace columns.
The next column in the Phase 4 matrix is for concepts, and it is labeled "C." Concepts are intangible ideas that describe a target, but that do not refer to Phase 2 perceptions relating to the five senses of hearing, touch, sight, taste, or smell. All of the Phase 1 primitive and advanced descriptors are concepts, as are ideas such as good, bad, important, insignificant, inspiring, dangerous, safe, haven, work, play, fun, drudgery, adventuristic, enlightening, attack, evolutionary, degraded, supported, healing, altruistic, evil, sinister, saintly, and so on.
The final two columns in the Phase 4 matrix correspond to two different types of deductions. The first is called a "guided deduction." A guided deduction is identical to a deduction except that the viewer actually probes the matrix in order to obtain the deduction. There are reasons for doing this that are explained below in the section on probing. The guided deduction column is labeled "GD." The final column of the Phase 4 matrix is the deductions column, and it is labeled "D."
To summarize, the Phase 4 matrix is:
Again, these column headers represent the following:
S M VF E P SUB C GD D S: senses
M: magnitudes
VF: viewer feelings
E: emotionals
P: physicals
SUB: subspace
C: concepts
GD: guided deduction
D: deduction.
Probing the Matrix
The Phase 4 matrix is utilized by entering data into the appropriate columns. One maxim with SRV is that you rarely get anything unless you ask for it. This translates operationally to probing the columns of the Phase 4 matrix in order to obtain information about the target.
To probe the Phase 4 matrix, the viewer touches the tip of the pen with the area underneath the appropriate column. Probing is delicate and should be performed with care. The pen should stay in contact with the paper for about one second. During that second, the viewer will perceived some information, typicallybut not alwaysrelated to the column heading. Again, the perception will come during the time that the pen is in contact with the paper. If the pen's contact with the paper is too brief, then a sufficiently deep impression of the target will not have been made on the conscious mind to enable the viewer to verbally describe this perception. If the contact with the paper is too long, then the viewer risks having the conscious mind interfere with the perception of the target.
After the viewer removes the pen from the paper, the viewer searches for a word or brief phrase that describes the perceived information. This process is referred to as "decoding" the target perceptions. The viewer must decide on this word or phrase quickly, rarely allowing more than three to five seconds to do this. If more time is spent verbally decoding the perceptions, then the viewer is risking conscious mind interference with the flow of the data. On the other hand, if the process of decoding the data is rushed, then the hastily described perceptions are likely to reveal error. After deciding how to describe the perception, the viewer writes this description (usually one word) in the appropriate column.
When a viewer probes a column, the perceptions are normally directly related to the column heading. Thus, when probing the emotionals column, the viewer typically perceives emotionally related data, and the description of these data would be entered into the emotionals column. However, sometimes the viewer perceives a number of things when probing one column. When this happens, it is important for the viewer to enter these data into the appropriate columns regardless of the column that was originally probed. For example, all emotional data go in the emotionals column, even if the emotional data are perceived when probing the physicals column.
Probing the matrix proceeds from left to right. Viewers must not probe the viewer feeling or the deduction column. Viewers do, however, probe the guided deduction column. The reason we do not probe the viewer feeling column is that we do not want to generate a viewer feeling. The viewer is trying to stay neutral with respect to the target. Inviting a viewer feeling is tantamount to mixing the emotions of the viewer with the data, potentially leading to serious decoding errors. The reason why we do probe the guided deduction column but we do not probe the deduction column is because we want to differentiate between two different types of deductions, as I explain more thoroughly below.
After probing a column and perceiving something about the target, the viewer writes the description of the perception into the appropriate column, whichagainis normally (but not always) the same column as that which was probed. The viewer then drops down a bit before continuing to probe the next column, again moving across the columns from left to right. Dropping down after each data entry has the consequences of having data entered into the Phase 4 matrix along a diagonal pattern down the page. If a viewer perceives two or more pieces of data that are related to the same thing, then the viewer places each of these pieces into their appropriate columns and at the same horizontal level, that is, without dropping down. For example, say a viewer perceives a brown structure. The word "structure" goes in the physicals column, and the word "brown" goes in the senses column. These two entries would be given the same horizontal placement, as if on the same line (although we are not using lined paper).
The horizontal placement of related data is essential for interpreting the data after the session is completed. If the viewer drops down a line after writing "brown" in the senses column and before writing "structure" in the physicals column, then the analyst would not know that it is the structure that is brown, perhaps concluding that something else at the target site is brown. Thus, the general rule is that only related items are placed at the same horizontal level in the Phase 4 matrix. Moreover, this is true only for data that are perceived at the same time. A viewer can never go back up the matrix to record the color of a structure that was not perceived initially. Data can only be entered in a process that moves horizontally and down the page, never up. If the viewer at first only perceived a structure, then the word "structure" would appear in the physicals column without any additional qualifiers in other columns at the same horizontal level. However, if the viewer again perceives the same structure later in the session, but this time the color of the structure is also perceived, then the viewer again writes the word "structure" in the physicals column, but this time together with the word describing the color of the structure in the senses column at the same horizontal level.
To summarize the general probing procedure for matrices in SRV, the viewer touches each column with the pen, moving from left to right, entering data in the correct columns as one proceeds. It is possible to obtain information that is applicable to a column different from the one that is being probed. When that happens, one moves to the correct column to enter the data. Once this is done, the viewer returns to the point of last probing to continue general probing. After data are entered in a column, the viewer drops down a row before continuing probing in the next column. Viewers are to probe all columns except the columns for viewer feelings and deductions.
Entering Viewer Feelings and Deductions in the Matrix
Viewer feelings are entered into the Phase 4 matrix only if and when they are perceived. Viewer feelings are not data about the target; they are the subjective feelings of the viewer that are a personal response to the data. If undeclared, they will fester and contaminate the data still to be collected. Declaring them in the matrix removes their influence from the data flow. Viewer feelings are entered into the matrix by first writing "VF - " followed by the viewer feeling. For example, "VF - I feel happy," or "VF - This makes me sick" would be correctly written entries in the viewer feeling column. After declaring a viewer feeling, it is absolutely essential that the viewer put his or her pen down, at least momentarily. The act of putting the pen down acts to disengage the mind from the stream of remote viewing data, and it is called "taking the break." This allows the viewer feeling to dissipate. Very strong viewer feelings require longer breaks, but normally a break only lasts a second or two.
Viewer feelings can happen at any point in Phase 4. One can have a response to some of the data coming from any column. However, typically viewer feelings tend to manifest after probing either the emotionals or physicals columns. Whenever a viewer feeling occurs, the viewer must move to the viewer feeling column before probing for additional data. After the viewer feeling is declared (including taking the break), the viewer can return to the point of last probing to continue the data collection process.
Deductions are similar to viewer feelings in the sense that they can occur while probing any column. As discussed in an earlier chapter, deductions have two components. First, they are high - level conclusions, as in "to deduce." Second, deductions are subtractions that need to be declared in order to rid the nervous system of their influence on the remainder of the session. Deductions can occur anywhere in a remote viewing session. In Phase 4, they can occur while probing any column. Whenever a deduction occurs, the viewer declares the deduction immediately by moving to the deductions column and writing "D - " followed by the deduction. As with a viewer feeling, it is essential that the viewer disengage the flow of data momentarily in order for the deduction to dissipate. This is done by putting the pen down, waiting for a second or so, and then picking up the pen again to proceed with the session.
Guided deductions are exactly the same as deductions, except that they occur when probing the guided deductions column. While probing the matrix, the subspace mind knows that pressure is building in the conscious mind to attempt to deduce the identity of the target. Knowing this, the subspace mind can often ease the pressure by guiding the deduction out of the conscious mind at the correct time. By probing the guided deductions column, the viewer can rid the mind of the deduction at an early stage of its formation. This helps smooth the flow of the data and helps to minimize the risk of having a developing and as yet undeclared deduction begin to influence the real data. Guided deductions are entered into the matrix in the same manner as are data entries. One does not write "GD - " in front of the guided deduction, nor does one put the pen down after declaring it.
Remember, that the subspace mind is still in control of the session when a guided deduction is declared. This is not the case with a normal deduction. In the situation of a deduction, the conscious mind interrupts the flow of data and inserts a conclusion relating to the meaning of the target or an aspect of the target. The subspace mind has lost control of the session at that point. To allow the subspace mind to regain control of the session, it is necessary to declare the deduction and consciously to break from the subspace signal line to give time for the deduction to dissipate. With a guided the deduction, the subspace mind does not lose control of the session because it is "guiding" the removal of the deduction. Probing the guided deductions column allows this removal to be accomplished.
High - and Low - Level Data
One of the most crucial aspects of Phase 4 is teaching the viewer to differentiate between high - and low - level data. High - level data involves labeling or attempting to identify aspects of a target. In the subspace realm of existence, information is not conveyed through words, but rather through direct knowledge. Indeed, this is the essence of telepathy, direct awareness a another's thoughts. Words are needed in the physical realm in order to convey meaning through speech or writing. When we remote view, we experience knowledge directly, as is the normal manner in subspace. We then search for words to describe what we perceive. If our words convey entire concepts, then we are describing something at a high - level of identification. On the other hand, if we are describing only the characteristics of what we perceive, they we are working at a low - level of description.
The difference between high - and low - levels of description are best perceived through examples. If a target is an ocean shoreline, a remote viewer would likely perceive aspects of the target such as sand, the feeling of sand, wind, water, wetness, salty tastes, waves, the smells of perfume (if people are using suntan oil), and grass. These are all low - level descriptors of the target. High - level descriptors could be beach, ocean, shoreline, lakefront, tidal wave, and so on. The problem with high - level descriptors is that they are often only partially correct, whereas low - level descriptors are normally quite accurate.
The general rule in Phase 4 is to enter all or most high - level descriptors in the deductions column, reserving the data columns for low - level data. In the above example regarding the shoreline, an analyst studying the data would have no trouble identifying the low - level aspects as describing an ocean shoreline with waves and probable sand dunes. On the other hand, using the high - level data suggested above, the viewer could have been tempted to follow a storyline created by the conscious mind of large waves, perhaps leading to a fabricated disaster scenario.
Entering high - level data in the Phase 4 matrix is very risky. Trainee viewers often want to obtain high - level data so as to demonstrate that they can identify the target. For this reason it is important to counsel trainees not to try to obtain high - level data. One can describe nearly the entire universe using low - level data. In short, when we do remote viewing, we want to describe the target, not label or identify the target or its aspects. For example, if the target really is a tidal wave, then the viewer is safer describing a large wave, heavy winds, lots of energetics, destructive force, the concept of disaster, and so on. If the viewer thinks of a tidal wave, that idea can be entered as a deduction even though it exactly identifies the target. Thus, deductions can be totally accurate. Deducting (or subtracting) this from the flow of the data does not hinder the session in any way. The accuracy of a deduction can always be determined while analyzing the data after the session is completed. But since it is impossible for a remote viewer to know during the session whether or not (or how much) a high - level idea is correct, it is safer to declare the deduction, take the break, and continue describing the target with low - level words and phrases.
To further clarify the difference between high - and low - level data, the following are some examples of each. In each case, it is safer deducting the high - level data while entering the low - level data elsewhere in the Phase 4 matrix. Maintaining a consistent stream of descriptive low - level data is perhaps the single most important criteria affecting the overall quality and usefulness of the session. Again, high - level ideas are inevitable in all normal remote viewing sessions due to the fact that the conscious mind is constantly trying to determine the meaning of the target based on the observation of the low - level data flow. The point is not to avoid the occurrence of high - level data, but to deduct it appropriately rather than enter it as legitimate data, thereby risking the development of a storyline based on conscious mind activity.
P4 1/2
Low - level Data High - level Data explosive energy bomb blast sand, water, salty tastes, waves, perfume beach large waves, water tidal wave squirmy, primitive reptilian animal life dinosaurs tall structure with many floors skyscraper wooden structure near animallife in grassy field barn with farm animals sounds of exploding explosion sloping dry land with explosion or intense heat at top volcano many rooms side - by - side in multi - floor structure with temporary residents hotel gathering of important people U.N. Security Council meeting slow moving structure air above and water below boat fast moving structure with air inside and vacuum outside spacecraft gathering of people in uniforms with rigid hierarchy of authority military meeting structure on dry land building a long structure with two parallel lines with regularly space cross - hatching railroad tracks moving metal structures with people inside cars people, vapor, difficult breathing gas attack high energy expelling outward explosion hard, cold, manmade pieces ice cubes hard to breath, pain, gasping drowning one person in trouble due to intentional force assassination holding small metal things for defense guns many groups in allegiance to a cental authority United Nations Most data that are entered in the Phase 4 matrix are single words placed in the appropriate columns. However, sometimes it is necessary for the remote viewer to say more than can be fit in a column. This typically results after the viewer has recorded a number of low - level data items that he or she later feels to be connected in some way. A longer data entry that acts to organize or collect a number of separate gestalts is written as a P4 1/2. A P4 1/2 begins on the left side of the Phase 4 matrix. The viewer writes "P4 1/2 - " followed by a sentence or phrase, writing from left to right across the page. Rarely, a P4 1/2 entry can be more than one sentence, but this is to be avoided. It is better to write two or more P4 1/2 entries sequentially than to attempt to write an extended discussion of the data. Entries that are too long risk shifting from recording perceptions to analysis during the actual session, which of course would involve a dangerous level of conscious mind activity.
Advanced remote viewers find P4 1/2 entries to be most useful, especially during the latter half of sessions after the viewer has obtained thorough target contact. This is how such viewers express their perceptions resulting from profound and penetrating target contact. However, it is important to carefully guide novices in their use of such entries, since beginning remote viewers tend to use P4 1/2 entries indiscriminately. Evidence of this is typically the appearance of a P4 1/2 entry that is not immediately preceded by a number of related single entries in the appropriate columns. Thus, the P4 1/2 entries should ideally relate and organize already perceived data, and they should definitely not appear to come "out of the blue."
P4 1/2S
A P4 1/2S is the same as a P4 1/2, but it is a sketch rather than a verbal description. When the viewer perceives some visual data in Phase 4 that can be sketched, the viewer writes "P4 1/2S" in either the physicals or the subspace column, depending on whether the sketch is to be of something in physical reality or subspace reality. The viewer then takes another piece of paper, positions it in landscape mode (as with all other Phase 4 papers), labels it P4 1/2S in the top center, and gives it a page number that is the same as the matrix page containing the column entry "P4 1/2S." The only difference in the page number is that the number for the sketch page has an "A" appended to it. Thus, if the entry for the P4 1/2S is located on page 9, then the P4 1/2S sketch is located on page 9A.
This Phase 4 sketching procedure is used only in the Farsight Voyager and the Farsight Seer courses. Our advanced professionals are taught an entirely different way of recording sketched data in Phase 4. The advanced Phase 4 procedures involve simultaneous and interactive working of one matrix and three specialized sketch pages. Details of these procedures are not included here.
The "Big Three" and "Working the Target"
1. Probing the Matrix "Raw"
Probing the Phase 4 matrix has three distinct and sequential stages. When first entering Phase 4, the viewer simply probes the matrix as described earlier. This is referenced as probing the matrix "raw." With novices, the usual practice is to have them try to obtain at least two pages of Phase 4 data. This is done in order to prevent the viewers from giving up too easily. Beginning viewers are usually quite skeptical about their own data at first. Since this skepticism is rooted in the conscious mind, it is not a serious concern during training. Indeed, having the conscious mind preoccupied with skeptical thoughts can be a real advantage for a novice, since it clears the way for the subspace mind to slip the data past the reviewing processes of the conscious mind.
With novices, the goal of the session is simply to demonstrate target contact. This requires the viewer to obtain a sufficient quantity of obviously target related material. Two pages of Phase 4 data are usually enough for this end, and the quality and quantity of such data are sometimes referenced "kiss and go," since new viewers usually do not achieve profound target contact with only two pages of Phase 4 data.
Working the Target
Professional remote viewers are under an entirely different set of operating conditions. Professionals treat their entry into Phase 4 as a means of obtaining crucially important information about a target that may or may not be known by any other means of data collection. This requires professionals to continue longer in Phase 4 while they "work the target." "Working the target" refers to the process in which professional remote viewers follow the subspace signal intuitively through all of its leads. Viewers obtain a rich collection of data by "looking around," so to speak. If they find a structure, their own intuitive sense will tell if it is important to know more about the structure in order to solve the problem posed by the session's target cue. If they feel the structure is important, then they describe it more thoroughly, moving inside the structure when needed to complete the description. The viewers describe the surface on which the structure is located, addressing issues of whether or not the surface is land or water. The viewers can also describe the physical activities of the people outside and inside of the structure, even locating a significant person who may be crucial to resolving the target cue. All of this is felt through normally strong intuitive tugs that direct the viewer's awareness in the appropriate directions.
Working the target also includes tying together low - level data in P4 entries. When a viewer works a target, the viewer typically perceives some physical item and describes this item in low - level terms. This observation leads to another related observation, which in turn leads to another, and so on. All of these observations must be described in low - level terms, and high - level ideas and labels must be entered as deductions. After a sufficient number of low - level observations have been made, the viewer begins to "connect the dots," so to speak. The viewer becomes aware of the relationship between the low - level observations, and this normally results in a statement that puts it all together. This statement, made as a P4 1/2 entry, is itself a low - level description of the target or a fragment of the target. The statement does not label the target aspect.
For example, let us say that a viewer perceives wind, circular energy, extreme force, flying small pieces, and a vortex, all of these things being entered in the columns of the Phase 4 matrix. The viewer could then state the following P4 1/2: "Windy circular energy in a powerful vortex containing lots of flying small pieces." The viewer could also declare a deduction of a tornado. The word "tornado" is high - level, since it clearly labels the phenomenon. The description in the P4 entry remains low - level, even though it ties together other low - level data entries. After tying together such low - level pieces, the viewer then continues on to the next group of objects in a similar fashion. This is the classic method of working the target.
2. Returning to the Emotionals
After a while, the flow of data will slow and further working of the target without some change becomes repetitive and unproductive. The viewer must then execute the second of the "Big Three" matrix processes. Even though the viewer has been regularly probing the emotionals with each horizontal pass through the Phase 4 matrix, a special trip back to the emotionals column often restarts the data flow. The reason is that the viewer's attention has been on various aspects of the target in the Phase 4 matrix, and the emotionals data that have been perceived earlier may have been those that related to these other target aspects, such as the sense of anger that resulted from an argument that took place within a structure. Returning specifically to the emotionals column for a special probing allows the subspace mind to focus its attention on other emotional data that could be more generally related to the target.
For example, let us say the remote viewing target is the hostage crisis in Peru that began in December of 1996. In this case, a group of Marxist guerillas attacked Japanese Embassy facilities in Peru and held a large number of hostages until a Peruvian commando raid rescued nearly all of them in late April 1997. In the initial approach to the target, a viewer may perceive fear among the hostages as well as aggression among the guerillas. The viewer may describe two groups of people in a structure, with one group controlling another. After the data flow slow, the viewer returns to the emotionals column and probes it again. This time the viewer perceives emotions of concern and concentration. This leads the viewer to perceiving the concepts of making a plan, waiting, rescue, high - level political involvement, and a commando operation. The viewer also begins to perceive other people related to the target, such as a central figure (deducting a president), people with uniforms (deducting military personnel), and all this within a foreign setting (deducting Latin America).
Data for emotionals often lead to other physical and conceptual data. This is because the emotions of people at a target site often reflect that which is happening around them, which in turn is grounded in their physical setting. Picking up their emotions automatically directs the viewer's attention to the physical items that are mirrored in these emotions. For example, if the target is the concentration camp at Auschwitz in Germany during World War II, the fearful emotions of the prisoners would naturally lead the viewer to begin to observe the physical objects that are causing the fear, such as the gas chambers. Returning to the emotionals column tends to offer the viewer a fresh chance at initiating a new stream of data that results from a wider and more general probing of the emotionals data relating to the target site. It is a preventative approach to what is known as the "door knobbing" problem, in which the viewer focuses on one aspect of the target (such as a door knob) while missing the broader picture (such as what else is going on in a room). Once the data flow is reinitiated, the viewer continues to work the target in the same manner as before.
3. Probing the Phase 3 Sketch
After re - initiating the data flow by returning to the emotionals column, the data flow will begin either to slow or to become repetitive as before. At this point, the viewer returns to the earlier Phase 3 sketch and begins to probe various aspects of the sketch. Remember, it is impossible to know exactly what the Phase 3 sketch represents when the viewer is in Phase 3. However, the sketch does represent the viewer's initial visual impression of the target, especially with regard to the arrangements of lines and shapes. By placing the point of the pen in various locations of the sketch (i.e., probing), the viewer is shifting the focal point of his or her awareness around the target location. This allows the viewer to re - start the flow of data once again, and the viewer returns to the Phase 4 matrix to enter the data in the appropriate columns.
When probing the Phase 3 sketch, the viewer is not trying to label or identify specific features of the sketch, although information is always available from the sketch as long as it is described in low - level terms. But more generally, the viewer is simply using the sketch to obtain other low - level data using a simple movement exercise in which new things are observed when the viewer's direction of attention is shifted from one location to another. Viewers can probe lines in the Phase 3 sketch, resolving some of their meaning using the primitive and advanced descriptors of Phase 1. This is a good way of determining if there are structures or beings at the target site if this has not already been determined.
The viewers can also look for the following interfaces in a Phase 3 sketch: land/air, land/water, air/vacuum, land/vacuum, air/water. This is very helpful in determining various geographical features of the target site. For example, let us say that the viewer has determined that there is a structure at the target site that is located on top of a flat surface. If the viewer probes below the structure and finds water, and then probes above the structure and finds air, the viewer then knows that the structure is floating on water and is probably a boat (which is a useful deduction). If the viewer determines that there is a structure in the Phase 3 sketch, and that the structure has air inside and vacuum above and below the structure, then the structure is most likely in space ("spacecraft" would be a deduction). If the structure is on a flat surface, and the surface is hard and natural (and thus land), and above the structure is air, then the viewer knows that the target involves a structure on flat land. If the viewer probes on both sides of a line in the Phase 3 sketch, finding water on one side and dry land on the other, the viewer knows that the target involves a land/water interface, and the viewer may deduct a beach.
Various combinations of the above suggestions usually result in a large quantity of high quality data. Viewers must always be cautioned to record their impressions in only low - level terms, however. Remember that high - level terms involve the conscious mind as an interpreter of the data, which can be disastrously misleading if allowed to continue unchecked. It is always best to deduct high - level ideas while continuing to record a steady stream of impressions using low - level descriptors.
Cuing
The "bottom - line" purpose of Phase 4 is to let the subspace mind of the remote viewer solve the problem with no leading, and with absolute minimal help from the conscious mind. Cuing is a valuable tool for problem solving in Phase 4. During solo professional sessions, the viewer can cue on many of his or her own data in order to obtain further perceptions. But for students in the Farsight Voyager and Farsight Seer courses, we recommend cuing only on the concepts of "activity" and "deep mind probes" (explained below). During monitored sessions, the monitor can only make minimal suggestions for cuing. In Type 4 or Type 5 settings, using the viewer's own words as cues is usually reserved for Phase 5, and monitors should make note of important Phase 4 data so as to suggest these items as cues when Phase 5 arrives.
In all phases, words that originate from the viewer's own data are entered in the appropriate column in parentheses ( ). Monitor originating cues, or cues not originating from the viewer's own data, must be entered into the appropriate column in square brackets [ ]. In Phase 4, if the monitor's own word(s) are used to construct a cue, then the cue should be non - leading and closely tied to the viewer's existing data (without entering a new element). For example, if a viewer perceives a building, the monitor may suggest that the viewer cue on "activity" by writing the word in square brackets in the concepts column, then probing the word and entering the resulting data in the appropriate columns of the matrix. Such a cue often causes a time shift to a period of activity at the same target location.
Movement Exercises
There are three types (called "levels") of movement exercises. All levels can be done after spending time in Phase 4.
Level - One: Level - one movement exercises essentially return the viewer to a modified form of Phase 1. An ideogram is drawn and decoded, and the person returns to Phase 2 and Phase 3 before arriving again at Phase 4. The decision to execute a level - one movement exercise is based on one of two reasons. If the monitor is concerned that the viewer may have wandered off target, a level - one movement exercise nearly always returns the viewer to the target. The other primary reason for using a level - one movement exercise is if the viewer needs to relocate to another area related to the target that may be substantially different in character to the originating area. Thus, the new Phase 1 through Phase 3 information may be particularly valuable, and perhaps essential to assisting the viewer in differentiating the two target related sites.
The following is a list of cues used for level - one movement exercises, beginning with the most common. These cues are written from left to right across a Phase 4 matrix if there is sufficient room for the ideogram and the decoding. (Usually one - half of a page needs to be empty.) Otherwise, the viewer obtains a new piece of paper. The Phase 4 matrix does not need to be re - written on the new paper; the page number is the only requirement. Immediately after the viewer writes the cue, the viewer places the point of the pen to the right of the cue and draws an ideogram. The ideogram is then decoded in the manner of all Phase 1 ideograms. Only one ideogram is used in a level - one movement exercise before moving to Phase 2.
1. "From the center of the target (or target site, target area), something should be perceivable."
2. "From 1000 feet (or an alternative long distance) above (or to the north, south, east, or west) of the target, something should be perceivable." This cue should be used only if it is unclear where the viewer is relative to the surrounding (viewed) environment.
3. "Immediately to the left (or right, in front of, behind) the target, something should be perceivable."
4. "From the center of the target area (or site), the target person (or object) should be perceivable.
5. From inside the structure, something should be perceivable.
Level - Two: Level - two movement exercises are used to move the viewer from one location or target related item to another without having the viewer leave Phase 4. A level - two movement exercise does not so totally break the viewer from the previously obtained target information as is accomplished by a level - one movement exercise, but neither is it as subtle a shift in focus as a level - three movement exercise. The cue is essentially the same regardless of the situation, with only locational words being changed. Here is the cue:
"Move to the [new target location or item] and describe."
In this cue, the "new target location or item" should originate from the viewer's own data. The monitor would not normally insert his or her own words here, with the exception being to focus the viewer's attention on some particular generic component of the target. For example, the "new target location or item" can include phrases such as "target subject," "target subjects," "target object," and so on.
The level - two cue is written across the body of the Phase 4 matrix, from left to right. The viewer then continues to enter data in the same matrix in the normal fashion after writing the movement exercise cue. There is no ideogram with a level - two movement exercise.
A level - two movement exercise can be temporal as well as locational. A temporal level - two movement exercise cue follows the following format:
"Move to the time (or period) of [temporal identifier here] and describe."
In this cue, the temporal identifier must be clearly connected to the viewer's earlier data. For example, if the target is a pyramid in Egypt and the viewer describes a pyramid structure, the monitor could give the cue: "Move to the period of construction for the structure and describe."
Level - Three: A level three movement exercise is the most subtle of the three levels of movement exercises. It moves the viewer's awareness without breaking the flow of data from the previously obtained data. The movement is executed by placing a very brief cue (usually only one or two words) in the correct column of the Phase 4 matrix and then having the viewer touch the cue with the pen and begin entering data. The cue can be a word originating from the viewer, in which case the cue is entered in parentheses ( ). If the cue originates from the monitor (and is thus significantly different from the words used by the viewer), the cue must be placed in square brackets [ ]. Monitor originating cues should be used only very rarely in Phase 4, and if used, should only be of the generic variety as described in the section for level - two movement exercises under the idea of cuing a "new target location or item."
For example, an appropriate use of a level - three movement exercise would be if the viewer perceives two beingsa male and a femaleseparated by, say, a road. The viewer could move from the male to the female by putting "(female)" in the physicals column, probing this with the pen, and then continuing with the collection of data in the Phase 4 matrix.
One particularly interesting level - three movement exercise is a deep mind probe. This is done in order to send the viewer into the mind of a person in order to obtain thought and personal character information. There is an ethical component to this exercise. The subspace mind of any person being remote viewed will normally be aware of this activity even if the person's conscious mind is not aware of it. Thus, it is important for all remote viewers to meditate regularly so as to remove as much of their own stresses as possible before entering the mind of someone else. In essence, it is mandatory to do no harm while remote viewing. Remote viewers at The Farsight Institute are instructed to make their observations and then to leave. At a deep level, the person being remote viewed will be aware of the visit, and it is important to remember friendliness and courtesy as essential components of all productive human interactions. This does not imply that the viewer should try to be friendly to the person being viewed, as this would involve the conscious mind and thus destroy the session. Rather, friendliness is a natural state of an unstressed mind, and meditating regularly automatically enhances this quality of a viewer's personality. As far as the viewer's activity while remote viewing is concerned, the viewer should only be focused on recording his or her perceptions.
A deep mind probe is performed by writing "[target person]" in the physicals column and "[deep mind probe]" in the concepts column (with the square brackets but without the quotes, of course). The viewer then touches each of the words in each quote once with the pen, and enters the relevant data in the matrix (normally in the concepts column).
A level - three temporal movement exercise can be obtained by using event or action related cue words. Level - three temporal cues need to be clearly connected to the viewer's own data, but do not need to originate explicitly from the viewer's data. Such cues are entered in square brackets [ ] in the concepts column in the Phase 4 matrix. In the Farsight Voyager and Farsight Seer courses, "activity" is our only permissible temporal level - three cue at the current time. Moreover, even this cue would be used only after the viewer already obtained some obviously related piece of information.
