I think this one textfile is enough to tell you the SRV process from start to finish. If you find yourself having read this fully and tried it a few times, you are able to follow the whole process effortlessly, then you are probably ready to challenge the SRV exam. Again, in my experience this was very cheap! And with reasonable effort can lead to a lucrative career.
Now before I paste the entire textfile, onto some pre-emptive troll q&a
🧌This is not official Farsight material.
😉Wow! You are such a clever little troll! Did you figure that out all by yourself?
🧌You are such and such (insert whatever ad hominem garbage)
😉Oh. Thank you troll for believing you know everything about me based on a retard forum exchange. I have a good solution for you. There are some local supermarkets stocked with nice fresh cucumbers which I implore you to take home and carefully insert into your rectum for all your cucumber experiencing pleasure.
🧌Your language is sometimes just not sensitive and I feel triggered and it damages my delicate flower like substance
😉Oh sweet troll. You are so sweet. Maybe you will stay locked in the prison forever. Try not to let the prison bars hit your ass.
🧌I found all these errors in your work. I just don't find it up to standard
😉Why that's very nice sweet little troll. I'm sure it just pales in comparison to all your forum trolling existence as a belief in your contribution to the greater whole. Perhaps I can interest you in a cucumber
🧌This was already done. Look at Aziz video on the blablabla
😉Oh gosh you must be right, troll. That never dawned on me. This was all wasted time because it has nothing to do with what I wanted to summarize or clarify after watching it
🧌 It's actually ASRV 🤓
😉Ah yes. Another one of your brilliant realizations.
***
Onto the textfile
***
SRV
SRV or Scientific Remote Viewing is pretty much as the name states. We won't spend much time explaining it or try to defend its legitimacy, but if you want to be psychic, keep watching.
This is not an official guide, and might be missing some good information. But we're just gonna focus on how it's done. Now let's say Bob is a Tasker focusing specifically on tasking SRV, and Alice is a Remote Viewer using SRV.
Bob sends Alice an 8 digit number he randomly generated. You can generate a random number on random.org for example. He attaches the 8 digit number to his target description but he doesn't tell Alice anything but the number. And tells Alice something like "please get back to me with your viewing by such a date" - maybe he hands Alice a folder or does it by email. And she will reply by the same means. Whatever. The number is called the Target Coordinates.
Now Alice finds a fairly quiet space with minimal distractions to use for an hour or so. She also has some letter sized or A4 blank paper, about 20 sheets available. And she has a pencil and sharpener. She might also have pens, felts, erasers whatever. But pencil and sharpener will do. She brings a timer. A phone works. Try to get a tone on the timer that's very calm and simple.
Alice will also want maybe a preprinted template and SRV affirmation, and the SRV vocabulary.
Or Alice could just keep these instructions preprinted for reminders, or if Alice feels confident that she had the whole process memorized she could stick to just blank paper. Alice might also just in addition or instead have these files saved on her phone or a laptop for reference.
She starts with a meditation. About 20 minutes will do. She gets comfortable, and whenever her brain starts to feel busy she says "Shaneem Mana." Those words don't really mean anything it's just a set of sounds for her brain to focus on. Now the timer sounds and she's ready to start.
Alice is going to read the affirmation ad follows-
I am a spiritual being. Because I am a spiritual being, I am able to
perceive beyond all boundaries of time and space. My consciousness is
ever present with all that is, with all that ever was, and with all that ever
will be. It is in my nature, as a human, to be able to perceive, and thus
to know, all that there is to know. Everywhere, at all times, I seek to learn, and thus to evolve. To further my own personal growth, and to
assist others in their growth, I direct my attention to a chosen point of
existence. I observe what is there. I study it carefully. I record what I find.
She picks up her pencil and paper.
Alice makes a cover page. It says: Target Coordinates. Alice writes the coordinates Bob gave her. Next it says: Session Number. Alice writes 1. She might do only one session but she could always repeat the process with the same Coordinates and just ascend the session number by one each time. For Experiment Number, Alice could write: SRV, or Practice. This could also be a number that Bob gives her to help Bob organize the tasks. But basically just SRV is fine.
By Data Type: Alice writes 2. This is basically never different except under rare circumstances. We're just going to stick with 2. Monitoring Level is 0. Again it's rarely ever different so we'll just stick with that.
Now for Interviewer: Alice writes Bob. She might include his contact info. For Name: Alice writes Alice, and she might also include a piece of her contact info here.
Now Alice has to describe her Physical State next to PS, and her Emotional State next to ES. A simple answer for both is best, like "good." If Alice feels she has a lot to say about this, she's better to do it on a separate page, or possibly wait things out until things change for her.
Now Alice has to write Advanced Perceptions next to AP. This could be left empty, or if she can already sense something about the target, she can write it here. Or if it takes more than 5 words, she should try to write it out on a separate page.
Finally, Alice can write the date and time for when she started. Some viewers also like to write the time at the very end of their session, as the last entry.
The cover page is now done. Alice should also number her pages. Some people like to put just a number at the top right. Sometimes it's even the coordinates, and page number at the top right, or include the session number and experiment numbers. Whatever.
Next, Alice is going to see 2 identical pages, both pages with 3 cycles of headings going down the middle. Those headings are: IL, A, B. That stands for Ideogram Label, Alpha, Beta. I'm going to call it "ILAB" for short. So in total, Alice is going to do ILAB 6 times in a row.
Here is the sequence that Alice is going to follow for each ILAB
First, Alice writes the target coordinates in nice big print to the upper left of IL. Immediately after writing the coordinates, Alice pops out an ideogram. An ideogram is a very automatic stroke of the hand, typically 4 strokes or less, and more commonly only 1 or 2 strokes. It's like an unconscious jerk or spasm of the arm.
There are 7 ideograms, Alice is aiming to have only one come out. These ideograms are losted here with their typical stroke summary.
Structure: A vertical then horizontal motion, or horizontal then vertical.
Water: a wavey pattern, like a sideways S curve.
Land: a stern horizontal stroke
Movement: a short diagonal stroke
Subject: A loop curving up, backwards and over, then down.
Mountain: diagonal up, abrupt stop, diagonal down
Energetics: 3 or more erratic strokes folding back in on themselves.
Now that Alice writes or "pops out" the ideogram. The coordinates and ideogram typically take up the whole left side of ILAB, often little notes might get written under the ideogram as well, try not to let it go below B. Alice goes to the right of IL, and descrbes the movement of the pen with words. Ideally it should be similar to one of the above descriptions in order to be considered an ideogram.
Immediately after, Alice "probes" the ideogram, as in pushes her pen into the ideogram and tries to feel a basic sensation of it. The "feel" should be one of the following-
Hard (like rock or metal)
Soft (like cotton, fur, down, polyester)
Semi-hard (like soft plastic or bendy material)
Semi-soft (like sand, or something made up hard grainy stuff but your hand can run through it)
Wet (like water)
Mushy (like jell-o)
Now Alice writes the best feel she can come up with to describe the feel, to the right of A. Sometimes more than one adjective is tempting here, but Alice tries to keep it to one of the above adjectives.
Next line, Alice probes the ideogram some more for the make-up of the substance she's feeling. Sort of a hunch about how it was created. The make-up descriptors are as follows.
Natural: like nobody built this substance per se. At least didn't directly intend the formation it is now, it just got that way over time. Like a mountain side, a lake, a field. Note that "natural" and "artificial" can be tricky. Sometimes natural things were once artificial, or pretty artificial looking things are actually natural formations. But overall general impressions suffice for now
Artificial: Like it is a component of something built. Even a beaver dam, for example.
Man-made: Basically a component of something that was not only built but at one time engineered, planned out.
Movement: As in there's stuff moving around, some could be natural, some artificial.
Energetics: Like something is hot or sparking or surging with electricity. Again, could be natural and/or artificial components.
Next line, Alice probes the ideogram some more for an overall sense of what's happening. Asking: is it static or dynamic. As in: is it stuff mostly standing still, or is it mostly moving around? Alice might skip this for now if she doesn't feel sure.
Next line, Alice probes the ideogram for an overall sense of what it is. Asking: is it simple or complex? Some say: "simplex or complex". For example, if it's hard and natural and simple it could be a rock. If it's hard and artificial and complex it could be the metal piece of a machine. Again, Alice might skip this for now if she doesn't feel sure.
Now Alice is done the Alpha phase, and onto Beta. To the right of B, Alice puts a conclusion. Usually B is just one simple line. But sometimes it can draw a complex conclusion. Often, this one line either affirms the original ideogram by repeating the same ideogram label, or just denies the previous ideogram label and states: "no B."
For example: Suppose Alice got a stern horizontal stroke, called it land, felt soft, natural, simplex, static. Well B seems to affirm land, like maybe a field or dirt. It all seems to fit.
But now suppose that Alice got a smooth curve, called it water, then got hard, artificial, dynamic, complex. Well that's something strange. Maybe Alice didn't get it right, or maybe Alice is picking something up but it's just too complex to make sense of right now. If Alice feels like she has the answer and it truly is water still, she can just repeat "water." She might add some quick notes about the strange combination. Or she might just say "no B" and suppose that the strangeness has yet to reveal itself. Or wrote "no B" and assume that this first ILAB wasn't successful.
Either way, Alice is now going to do all of ILAB from scratch again. It might affirm the previous ILAB, or it might be something totally different. It's hard to be sure why the ideogram changes if it does. Sometimes the subspace mind feels you already understand everything you really need about the ideogram, and it's time to move onto a new one. Or sometimes it's saying your ILAB was all wrong, and it's best to retry.
Whatever the case: Alice does ILAB a total of 6 times. 3 times on one page, 3 times on another page.
Now Alice is going to do ILAB a 7th time, but this time the 4 lines for Alpha are numbered. So it's a bit more strict for categories now. And after B there's a C and D. C is for the SRV vocabulary, and D is for sketches and vocabulary. Things might get a little more mixed now between sketching and writing.
The vocabulary can also be found as an appendix on this textfile.
By the way: it's ok to write things that are not in the vocabulary. But it's important to keep it low level. For example, if you think you see an airplane, avoid saying "airplane" because it's too high level. You might instead say: "artificial metal thing with wings" or just "boxy nonsurface structure". In the event that you feel really tempted to put high level information, write D- for Deduction, with a dash, and write the high level note, then put your pencil down, try to clear your mind for a second, and pick the pencil back up and continue again. Or you might do the whole deduction on a separate page, then put the pencil down, move the page out of the way, then continue.
Now up until now, Alice has not made any sketches exclusively. Now is time for a Flash sketch. Alice starts a new page, and before beginning, Alice closes her eyes, tilts her head up 45 degrees, looks sideways for a second, tries to get a picture in her mind, and then sketches.
Once Alice has completed this sketch, guess what happens? Alice repeats this whole process 2 more times. So that's a total of 3 times.
In other words: That's 6 ILABS, then a C and D, then a flash sketch. And that all gets done 3 times in a row.
When Alice has completed all this, she might go onto more advanced stuff like movement exercises. But for this education session, we want to conclude it here for now.
When Alice is done, she can send it all to Bob.
As follows is an appendix of the SRV vocabulary.
Advanced SRV Vocabulary for Describing Target Elements
Directions for Use: The vocabulary below should be memorized by all practitioners of SRV.
These are low-level descriptors that can be used to describe the physical characteristics of nearly
all physical targets. Remote viewers should memorize this list so that the terms come to mind
readily during the course of a remote-viewing session. For example, for all targets, each remote
viewer should determine if a target has a base surface. If there is a base surface, the viewer then
must determine if the base surface has a level or an irregular topography. Then the viewer must
determine if the base surface is land or water, where each element helps direct the viewer to the
next element, and so on throughout the session. In the absence of a memorized list of descriptors
such as shown below, the viewer may not know to probe for such elements, and the viewer may
struggle to describe a perception. The viewer would then have to rely on the conscious mind to
remember and associate appropriate words with a given perception, or avoid describing the
perception entirely, all of which must be prevented as much as possible during a remote-viewing
session. The use of a memorized list of descriptors as detailed below allows the viewer to focus
on the perception without struggling for words to describe the perception. These descriptors also
assist in sketching the target elements.
BASE SURFACES
surface: surface
surface: level topography
surface: irregular topography
LAND
land: land
land: manmade
land: natural
land: level topography
land: irregular topography
land: steep peaks
WATER
water: water
water: land/water interface
water: ice or snow
ATMOSPHERICS
atmospherics: natural smells
atmospherics: manmade smells
atmospherics: smoke or burning (natural or manmade)
atmospherics: cloud dynamics
STRUCTURES
surface structure(s): surface structure(s)
surface structure: one
surface structure(s): multiple
surface structure(s): city
surface structure(s): subjects inside
surface structure(s): subjects on base surface outside
structure(s) materials: natural materials
structure(s) materials: manmade materials
structure(s) general location: on land
structure(s) general location: on/in water
structure(s) general location: on a flat surface
structure(s) general location: not located on a surface
NATURAL OBJECTS
natural object(s): natural object(s)
natural object(s): on a surface
natural object(s): not on a surface
SUBJECTS
subject(s): subject(s)
subject(s): male
subject(s): female
subject(s): one/few
subject(s): many/crowd
subjects: focused gathering
MOUNTAINS
mountain: mountain(s)
mountain: one
mountain: multiple
NONSURFACE STRUCTURES
nonsurface structure(s): nonsurface structures
nonsurface structure: one
nonsurface structure(s): multiple
nonsurface structure(s): subjects inside
nonsurface structure(s): subjects nearby outside
nonsurface structure(s): noticeable relative movement
nonsurface structure(s): stationary
nonsurface structure(s): silent movement
nonsurface structure(s): emitting energetics
LIGHT
light: bright
light: dim/dark
light: glow
GENERAL ENVIRONMENT
environment: urban
environment: natural
environment: harsh natural
environment: harsh manmade
environment: extensive foliage
environment: distant or no base surface
ENERGETICS
energetics: explosive, swirling, or multi-directional movement
energetics: kinetic (fast or slow, one direction)
energetics: fire or heat
ACTIVITY
activity: activity or movement by subject(s)
activity: activity or movement by object(s)
SOUNDS
sounds: talking, shouting, voices
sounds: booming or roaring
sounds: wind-type sounds
sounds: loud
sounds: noticeably quiet
sounds: music, rhythm, or pulsing
TEMPERATURES
temperatures: hot
temperatures: moderate
temperatures: cold
DOMINANT SESSION ELEMENTS
dominant session elements: structure(s) on a surface
dominant session elements: structure(s) not on a surface
dominant session elements: lots of subjects
dominant session elements: movement/activity/energetics
dominant session elements: natural environment
dominant session elements: natural object not on a surface
SKETCHES SHOULD INCLUDE SOME OF THE FOLLOWING ELEMENTS
sketches: structure(s)
sketches: structure(s) on a surface
sketches: structure(s) not on a surface
sketches: natural object on a surface
sketches: natural object not on a surface
sketches: subject(s)
sketches: subject(s) in a structure
sketches: subject(s) on an outside base surface
sketches: horizontal base surface
sketches: sloping or peaking base surface(s)
sketches: object totally below a surface
sketches: significant motion of primary object(s)
sketches: radiating or explosive energetics
sketches: extensive foliage
sketches: extensive water