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 The circle & right angle 
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Post The circle & right angle
Usually, when you mark the [x] and [a] from the freehand scetch, the [x] and [a] aren't drawn in the same place. On the DVD 1, introducing the site template, Ed Dames explains how that circle and right angle could probably go together. Whenever RVing [x] or [a] individually, its like zooming in to only that. Lets say that the [x] is drawn at the top left and the [a] at the bottom right. Can you still combine [x] and [a] eventhough they are on seperate sides of the page?

OR could I change around the [x], [a], and [b] around the page since the freehand scetch is the early stage that doesn't get specific.


Thu Dec 30, 2004 1:43 pm
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"Lets say that the [x] is drawn at the top left and the [a] at the bottom right."

Are you referring to the analytical sketches of [X] and [A], or the freehand sketch?

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Thu Dec 30, 2004 6:23 pm
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Freehand


Thu Dec 30, 2004 10:07 pm
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The freehand sketch is not used to create the Site Template -- only the analytical S3's!

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Thu Dec 30, 2004 10:15 pm
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So you're saying that the S3 Freehand Sketch has nothing to do with the Site Template consolidation? I shouldn't ever look back at the S3 Freehand Sketch for participation while working the Site Template. But only look at the Analytical Sketch and nothing more?

re-asked:
The a, b, and c markings from the Freehand Sketch are only working blocks to later put and combine together for the site template. BUT, the markings (written for the Freehand) aren't exactly where the S3 should be drawn (for the Site Template), correct?


--
Side Note:
Today, I RVed with a couple as the target, walking across the street. In my S3 Analytical Sketch drawings, I saw a circle in [x] and [b]. (The circles symbolized people-- apparently after the session was over). But I'm having trouble deciding whether the two circles could be one. Of course there are other lines and shapes around this one individual; maybe revolving around this one person OR it could mean that the two circles indicated two people. I chose to think of these circles as one person and was incorrect. But thats just something the RVer will have to decide, I guess.


Fri Dec 31, 2004 8:13 am
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Affirmative. The Freehand S3 sketch and the correct placement of key site aspect labels (not "markings") is critical to the session -- it is the session's foundation. However, it is not used as a reference guide in the construction of the Site Template, only the Analytical S3 sketches.

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Fri Dec 31, 2004 7:26 pm
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This is more of a silent question about pace and structure. Not for everyone think about so I'll just post it here along with my other posts.

This is regarding to times when I have no access to printing out templates.
WITH templates, I noticed a couple times- sometimes, there's a concentration distraction turning the page when still focusing on the same key aspect. (turning the page from S3 to S4).

Remote veiwing on blanks sheets of paper of a target chosen for me, I write out the words from the templates as the order is written. "Textures" while thinking about what textures, then, "Colors" for what colors, etc.), writing one sense at a time. I find this easier to concentrate because while writing "dimentions: ," I'm thinking about what dimentions come to awareness and descriptive words that show up quickly. So when I work on S3, the S4 is being worked on immediately but below the S3- on the same page; (I don't stop writing, the concentration aviodably breaks).

Is it more in structure to pre-copy the template before beginning the session or is this fine too?


Mon Jan 03, 2005 3:41 am
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Simply stated, you cannot progress in this skill until you break away from those pre-formatted beginner templates. That includes preformatting the S4 session pages.

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Mon Jan 03, 2005 3:50 am
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Throughout the first DVD the student is informed that the templates as well as the word descriptor lists are only initial crutches used to jumpstart the learning process. At the end of the first DVD you are encouraged to memorize the word descriptor lists and to also practice without any pre-made templates. You do not use pre-made templates after the first DVD.

Even during the first DVD while you are using the Word Descriptor List in Stage 2, you are never permitted to use it during Stage 4 where the data must flow spontaneously.


Mon Jan 03, 2005 4:05 am
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When I place the key site aspects of X, A, and B on the 15 second freehand sketch, then gather information about each of the site aspects, is it possible that this is all the information I could receive? It has happened only a couple times.

For instance, when I did a "chair" target, I found information for the [X], which was the left arm rest, [A] was the right arm rest, and [B] was where the light shined on the top of the chair. I hit it right on the dot with sensories and feelings on the site template. The problem is that I'm having trouble laying out the S3s on the ST. (Should I combine the similarities or keep them apart?) That kind of thing. One strange thing is that for aspect [B], I remote viewed the reflection of light. I even drew a circle with small lines circling around it as if you would draw a sun. I thought the chair was the target. Anyways,

Backing up to the S3s, I only have information for parts of the chair (like if you were to shine a light on X,A, and B for me to see, which is= both arm rests and top of the chair.) That's all the information of the chair I'd have- only sections of the chair.
Problem: So when I put it on my site template, I end up combining all S3s that are similar (whether they're circles or structure similarities fom two S3s.)

I can't tell myself, "Ok, stop combining S3s and just re-draw them exactly where you placed the site aspects on the 15 second freehand sketch, most of the targets are that way anyway" I try to keep myself open of that dicision.


Sat Jan 08, 2005 3:53 am
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Rely upon your body more than your intuition/target contact if you just can't decide what goes where. This is why we do not break or end the session until the site template is finished -- we may need to maintain mind-body signal line connection to determine the juxtaposition of all the site elements.

It is much easier to construct a template when disparate site elements are present. It takes a little more practice, however, to become aware that your jigsaw puzzle pieces (i.e., the analytical sketches with their composite elements) are all part of the same object.

Let's say that your target was a new, top secret submarine, built and docked in an underwater facility. Unconscious might present key aspects that were all connected with the sub, itself: screw or novel propulsion system, conning tower, bulkhead, etc. Or, it might deliver up the target, followed by aspects of the surrounding sub pen. In all cases, your hand will 'know' where to direct you.

All new viewers go through this phase of the learning curve. The most common mistake is separating out elements that should be connected, or associating elements that are discrete.

The analogy to assembling a jigsaw puzzle is very apropos to the construction of the S.T.

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Sat Jan 08, 2005 4:39 am
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Question #1
During a session, I accidently looked into aspect B twice. I felt that I was more on target on the second time though. Both felt the same but slightly different drawings so when I drew out the ST, I just took what was in common of the two. Is that bad?


Question #2
Through experience, I've found the "sense" when I'm on target or not (if that can be so, in the first place). I state that because lately, while writing out the sensory impressions, I skip down and draw soemthing in the analytical sketch that I felt strongly about- then finish up the sensory impressions, then finish up the analyrical sketch staying in strucure the most I can. (later I find out from the site template that the analytical sketch was accurate).

Help me out. Should I run with this instinct that is accurate? (but by the end of the session, my analytical mind tells me that I'm falling out of structure)
Or stay with the DVD's structure? this question allies to the third problem below.

Question #3
Due to structure, I take it that I should write texutres first, then colors, and the rest of that order to dimentions. BUT, lately, when I'm writing textures, perceivance of dimentions are strong so under textures, I end up with textures and dimentions. I still stay in that sensory impression structure order and write out the dimentions last.


Thu Jan 20, 2005 9:39 am
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1. Cease and desist now -- follow instructions. The only time where this is permitted is when you are interrupted and, perforce, must reexecute the step.

2. I can't believe that you are doing this...follow instructions.

3. If, in Stage 2, you go out of structure, i.e., dimensions pop up prematurely (very common with beginners), simply hold onto the dimension idea-word until you can place it in its proper place.

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Fri Jan 21, 2005 3:32 am
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After writing sensory impressions and analytical sketch, Stage 4 also asks for dimensions. The question is: what happens if you write a dimension down in S4 that you agree with during the ST but didnt draw it in the Stage 3? Its off structure to add or change it on the ST


Thu Jan 27, 2005 4:24 am
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1. S4 (unlike S2) does not "ask for dimensions" -- it provides a venue for them when they arise in awareness.

2. Once a S3 analytical sketch is complete, it may not be altered or added to. Ideally, each sketch represents a key site aspect, (there is often overlap), in diagrammatic form; the word-ideas that made it up are important baseline dimensions. If you alter one, then you have effectively negated the 'end run' that the RV structure executed around the thinking process.

The dimensions listed in S4 pertain to elements associated with/within the analytical sketch. These dimension words, as well as any S4 sensory words, may become part of the session summary. They are not usually included as labels in the S.T. because they tend to clutter it up and obfuscate the higher-level (AI, EI, T, I, AOL/S) data ensembles.

I'd like to see one of your sessions. Based upon your posts to date, I'm a little concerned about your structure. Better to reel you in now, than slam dunk you, later.

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Last edited by Ed Dames on Sat Mar 12, 2005 6:22 am, edited 1 time in total.

Thu Jan 27, 2005 5:45 am
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Yeah, I'll do that. RV my latest and let you take a look incase I'm going astray. But ever since my last post, I haven't RVed anything more than finding a friend who stole my car (Andrew/Present Location) and as you can see, I'm trying cues. I haven't learned how to cue things quite fluently yet. My schooling started up again and I had no time at all to RV, sorry. I will post my latest RV sessions when I get the chance. I have to do front loaded targets, says the end of disk 3, so the latest sessions will be front loaded but again, I'm not fluent with cueing things, which is why I am leaving this message here to ask this...

3:44 AM, roommate was washing dishes. As he tried tp separated two cups that were stuck together, the exterior cup exploded, literitally. I came over to hear what that sound was and what the woh. I saw tiny pieces of glass, the size of my fingernails at biggest. Call me easily entertained, but I wanted to know how to cue this if I was to RV this. Would it be "Shattered Glass Cup / Cause"?


Fri Feb 04, 2005 9:02 am
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Don't worry about how to cue it, because you do not possess the necessary (very) advanced skills to tackle a problem of this nature (i.e., atomic/molecular interrelationships, shear/binding forces, material irregularities, etc.).

Focus on your academic studies and do well. When you can resume your RV work, I'll be here.

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Fri Feb 04, 2005 8:23 pm
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Post Here are my latest sessions. Not my personal bests
There are two main targets I tried practicing. I will show this one first.
Three Chinese characters that describes one thing, "Dragon Head Turtle"

[irrelevant]


Is it better to RV one chinese character at a time than to RV a few characters describing one thing, or does it not matter?


Last edited by Pael on Wed Mar 02, 2005 7:42 am, edited 1 time in total.

Tue Feb 15, 2005 6:09 am
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I thought that I directed you to maintain your focus upon academe, and then come back here?!

It matters very much!

Let's compare a language that you are (albeit, at a sophomoric, if not rudimentary level) familiar with -- English -- as an example:

In English, the word "America" defines a country.

In Chinese, two ideographs ('characters') are employed to define the same thing. Using their Romanized equivalents (don't even ask about their homonyms!), we have:

"Mei Guo" - there is no single 'word' (i.e., ideograph) for the English equivalent.

Independently, the Chinese equivalents:

"Mei" = beautiful
"Guo" = country

Q.E.D.

This is an important illustration for any of you whom might desire to apply RV to the field of epigraphy. For instance, no 'Roseta stone' has been discovered/constructed with which to decipher the Easter Island Rogo Rogo script (basically, an elaborate collection of phallic symbols). Furthermore, any sound (animal, 'alien,' etc.) can be treated, in our field of expertise, as a symbol -- the meaning(s), if any, can be extracted from their sonograms just as easily as written, or chiselled, script.

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(Don't be afraid that your life will end -- be afraid that it will never begin)


Tue Feb 15, 2005 6:33 am
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This is an area I will be delving into to help a clients' company begin to get into the Chinese food import business. Can you suggest a dialect to focus on?

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Tue Feb 15, 2005 8:17 am
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Jef,

Not a topic consonant with our goals, here. Email: eddames@psispymaster.com

Ed

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Tue Feb 15, 2005 8:47 am
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I thought I would learn RV as I would anything else such as ice skating. When I would take a break from academics, I didn't know there was harm RVing.
Thank you sir


Last edited by Pael on Tue Mar 24, 2009 9:18 pm, edited 1 time in total.

Tue Feb 15, 2005 10:22 am
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RV FORUM ERROR MESSAGE #0148 - COMMUNICATIONS BREAKDOWN

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Tue Feb 15, 2005 8:49 pm
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