Transcription
In this video, I'll teach you the basics of remote viewing, and you'll be able to try it yourself against a mystery photograph at the end. [Music] I'm Brett Stewart, founder of Technical Intuition and author of *Remote Viewing: The Complete Guide*.
Since my last instructional webinar, I've received countless emails from new viewers telling me about their success stories during the proof exercise I ran there. So I decided to start a new series on my YouTube channel that goes over the basics so that you can begin trying to scale out yourself.
But before we jump into the basic methodology, it's probably best to clear up a few misconceptions about what remote viewing really is. First of all, anybody can do it. Sure, some have a natural propensity for it, just like there's gifted artists or musicians, but hard work and dedication really play a significant role in developing the skill.
Number two, remote viewing is somewhat of a misleading label for what you're really doing. It's much closer to remote perception or remote perceiving. Well, the phrase remote viewing originally referred to scientific experiments testing for the existence of psychical functioning. Today, it's defined much more broadly. Remote viewing usually refers to the ability to perceive information that would normally be unavailable to you; for example, a description of the location of your lost car keys, or who will call you on the phone next, or even what the mystery photograph is, which I'll show at the end of the video.
Number three, there are many remote viewing methods out there: CRV, ERV, ERV—the list goes on. Kalas groups have made their own adjustments to the original techniques, but ultimately it boils down to two different types. Number one: structured remote viewing, which includes pen and paper, requires a highly alert and focused attention on the steps. And the second type: freeform remote viewing, and this usually requires an altered state of consciousness; typically, you write at the cusp of falling asleep. In this video, you'll learn the basics of the structured remote viewing method that I've studied for the past decade.
Now, if you're interested in learning more about how to remote view after this exercise, definitely check out my website, technicalintuition.com, where you can pick up a digital copy of my or preview my online RV fundamentals video course. I'm also happy to announce that my next course, an in-depth training program to associative remote viewing, will be released next month and is now available for pre-order. Additionally, I'm running a limited-time special of 20% off all of my training material through the end of Cyber Monday, which is November 26th. Actually, it's my birthday, but so if you're interested in learning more, definitely don't miss out. Links are in the description below.
If you're brand new to remote viewing, the exercise at the end of this video should give you an idea if this is something or an activity you would like to pursue further. So challenge yourself; nobody's judging you here. My advice to beginners has always been to try to have fun with it and see what happens. Interestingly, often times the less invested you are in the outcome, the better off your results will be.
And for the healthy skepticism that should be employed when investigating this field, my advice would be to be open-minded about what's possible and allow yourself to consider that your conscious awareness may have abilities that go beyond what's commonly agreed upon. And while it's well known that orders of perception can be reduced, the question you have to ask yourself is how far can they be expanded.
Remote viewing starts by directing your attention to a predetermined subject, typically called your remote viewing target, and this is done in a way that keeps you, the viewer, unaware of the subject. Now, as a side note, when people ask the question, "Why didn't you view or see this big event or the outcome of that newsworthy spectacle," it's typically because the remote viewers never looked. Now, issues with predicting the future aside, of which there are many, remote viewing requires one to focus specifically on a task that's been pre-arranged and set up to ask a question. Remote viewing is not some kind of abstract thing where you become like the Oracle of Delphi and then listen to the whisperings of the universe.
So the next question then becomes, how do viewers access these prearranged topics? Well, we need a way to keep the train of—you are blind to the topic chosen, but still allows them to perceive it. And we do this with what's called a reference number. This is a randomly generated number produced by the Tasker who assigns it to the topic in advance, usually by printing it out on the same page as a photograph. You can think of this reference number as kind of like a website address, such as youtube.com; it merely points to the assigned topic, and it might look something like this on screen: 1 2 3 4 5 6 7 8. Now this number allows you to direct your perception to the desired topic while still blind and unaware of its nature. As an example, if your target was the Eiffel Tower—don't worry, it's not your target—then it would look something like this on the screen: simply a photograph and a reference number printed out on the same page.
So let's jump in to the specific remote viewing steps. Step one: can aesthetically connect. So now that a topic has been chosen in advance and assigned with a reference number, the viewer can get to work. And to begin, you need a way to direct your perception to the chosen target. If this sounds complicated, it's really not. For example, choose any object in your room and now think about the steps required to perceive it. What would you do? Now, obviously, this is something that can be done without thinking, but slow it down for just a second. As an example, I have a picture on the wall behind me. To perceive it, I would need to turn my head and focus my eyes on it. Then what happens next? Well, the light bouncing off the wall enters my retina, and suddenly I perceive it. No action was really required on my part other than turning my head and focusing on it. The perception part simply occurred because I looked. So as remote viewers, how do we look? Well, we need a way to connect with the topic. I like to call this shaking hands with the target, and we do this with an autonomic, referring to the nervous system, generated pen mark on the page that uses reference numbers as an initial stimulus. Simply put, you write out a reference number and then immediately create a line, squiggle, next to it on the page. These are called ideograms, and there's a tremendous amount of research that's been done in this arena as well as how to cultivate and ultimately decode them, but for our purposes, simply creating the spontaneous marking should work just fine. You can think of them as expressions of your nervous system in response to the topic associated with a reference number, somewhat similar to downloading a file off the internet. And here's an example of what they look like. Now, I like to do these a few times for a number of reasons, but primarily to avoid any issues if I mess one of them up without realizing it. These should be quick, spontaneous line markings, which take no longer than half a second to 1.5 seconds to generate.
Step two: catch and record your impressions. In this stage, your goal is to record your impressions one at a time while moving through a list of sensory and dimensional categories. Now you might be thinking, "Wait a second, record my impressions? Impressions of what?" To look at the picture of the wall behind me, I would've first had to have turned around and looked at it, right? So how does one metaphorically turn their head and perceive impressions of the remote viewing session, especially when they have no idea what their remote viewing task even is? Well, it's simple: you utilize your intuitive sensing to catch and record your thoughts. How is this done spontaneously? If your perception is a vehicle, then spontaneity is the avenue or road it travels down to get to your desired destination, that is the information that you're seeking in the remote viewing session. And believe it or not, you're actually already adept to doing this; in fact, you've been doing it every waking moment of every day of your life. Now, when you look at an object in your room with your eyes, you don't have to beat the visual information out of it. You don't look at a tree and say, "Tell me what you look like." It's simply there; the information simply arrives by itself by nothing more than your attention. In this remote viewing stage, it's really no different. Whatever intuitive impressions arise spontaneously after shaking your hands with the sight by creating the ideogram, then these descriptive words should be written and recorded on the page.
Now you might be asking, "Hold on a second, Brett, I've never used my intuitive sense before. I'm not even sure it exists." Well, if you can create a string of descriptive words randomly, or perhaps better put, spontaneously, then you can catch and record intuitive impressions. Because, after all, what really is a random thought? Is there really such a thing? Can you be sure that it wasn't derived from some sort of stimuli, whether known or unknown, conscious or unconscious? For example, if you were to seemingly randomly get a thought about your best friend, who then calls or texts you in the next minute—sure, coincidences do happen—but what if it happened so often, and what if it's a shared experience by millions of people? Wouldn't it be fair to at least consider that something more is going on here? Your goal is simply to pay attention to what arises spontaneously; notice and record what comes up—that's it. However, if you try to force these thoughts into existence, you'll likely get a lot of noise and a lot of nonsense. Accurate information tends to come without effort. Imagination, on the other hand, tends to require it. To perform this step, simply move through the following categories, writing down spontaneous impressions for each: textures, colors, smells, tastes, and so on. Here's an example of how you would actually go through this page. Writing these descriptors should be done fairly quickly, with no more than two to three seconds between each one before moving to the next category. Now, if you hang around in one of these categories for too long, you're likely to activate your imagination; it's only a natural response, since nothing arising spontaneously, you have to force to arise, and you'll have to create it. This is not something that you want to do in a remote viewing session. You can kind of think of imagination as a giant boulder chasing you down a long hallway to the finish line. If you move too slowly, it's going to overtake you, so don't give it the opportunity by keeping a fairly fast pace. If you're always moving forward, you won't have time to look back, which is a surefire way to engage analysis and imagination and ruin your remote viewing session. Finally, at the very end, ask yourself this question: "How would I feel—feel being the qualitative word—if I was physically at the location we're looking for?" Your emotional response; so go with whatever arises first. Don't analyze it; don't question it. For example, the subject or topic might make you feel happy, amazed, shocked, or bored. Look for the spontaneous emotional response and then write it down.
Step three: sketch archetypical impressions. In this last step, keep with the spontaneous theme and spend about 15 to 30 seconds to quickly draw your overall archetypical impression of what you feel best represents the target. Now, if you feel the need to produce a couple of quick sketches here, that's perfectly fine, but your goal isn't to produce high-quality, detailed drawings. Basic shapes work best here to denote the orientation and the scale. So in the Eiffel Tower example, a viewer that's successfully locked onto the target would likely produce a peaked shape for the massive structure that might also pick up the flatland underneath it as the horizon line or even some of the finer details like the crisscrossing beams. Your goal here, though, is to keep it simple and don't try to figure out what it is by using analysis as you produce these sketches. It can be useful to think of a tiny brain in the tip of your fingers; that that little tiny brain is what's figuring out what should be sketched and where the line should be placed. Your job is to simply let it do the work; let it be spontaneous. And once you're done, right at the very end of the page, the word "end."
All right, so you're ready to give it a shot. If you need a bit more time to prepare or want to go back and review some of the previous sections, I put the timestamps in the description below for you. What you'll need to get started is a few pieces of blank white printer paper and a black pen. I've also made a basic template available for you for download on my website, so that's also in the description below as well if you want it. I recommend clearing your desk and general peripheral vision of any visual distractions, such as bright colors and patterns, reflective jewelry, and especially your cell phone. And also avoid sitting in front of an open window as to avoid the distraction of moving people or cars passing by. And so with that, let's begin. Here's your reference number up on the screen. Go ahead and pause the video and begin when you're ready. See you on the other side.
You! Well, how was it? Let me know in the comments below. Did you find it easy to keep your focus on the task at hand, or was it difficult reining in your imagination from it going wild? Don't worry if that was the case, as it's really not uncommon for beginners to struggle with that, but I definitely would love to hear how you guys did.
So what was the mystery photograph? What was in the envelope? Well, before you proceed, make sure that you review your work and get a general idea of the site that you were describing. It may be useful to ask yourself a few questions just to get a general sense of what you were dealing with. For example, do you feel that your work describes a natural or an artificial environment? Something like a city setting or something more remote? Can also ask yourself, did it feel indoors or outdoors? What was the dimensionality of the site? Was it vast and open or small and claustrophobic? Also, did you draw any structural elements? Things typically denoted by right angles, something that you don't often find in nature? Finally, did you get a sense of people at the location or did it feel a bit deserted? It can actually be quite useful to write out a half-sentence summary before continuing to view feedback photographs, just so that you get a good sense of what you were dealing with before you see what the actual target was. And while this beginner format doesn't delve into high-level idea acquisition—something that I teach online and cover in my book—you should still be able to simply describe what your target was with a spontaneous data collected. However, don't try to name the target described without naming—that's the essence of remote viewing.
The topic selected for this video was the Incan Citadel set high in the Andes Mountains of Peru: Machu Picchu. And your task was to move to the optimal position and describe the site at the time the photograph on the screen was taken. Now, I've worked with complete beginners that had zero remote viewing experience whatsoever that blew my mind, and they actually named the location; they were so certain that that's what the target was, and this was without any front-loading, and this is basically the first time they ever tried the skill. How well you did, well, very pretty significantly, probably depending on a lot of different factors—too many to cover here. However, I will tell you this: I found that just about anyone can learn to develop and expand these perceptual faculties, and decades of scientific research have been invested into this field. While most mainstream academics discard the evidence that's been done because it's just too inconvenient for their personal beliefs, that doesn't mean it doesn't exist and that you can't learn to harness these natural abilities with dedication and practice.
If you enjoyed this video, please definitely leave me a like below and subscribe to the channel if you haven't already to stay updated on future videos. Also, let me know how you did in the comments below. You know, some people run into astonishing beginner's luck, sometimes referred to as the first-timer effect, well, others take a little bit of practice to get used to. I was in the latter category when I began, but with practice I was able to elevate my, well, little skill. And with that, I hope you enjoyed learning about remote viewing. I look forward to reading your comments below, and I will see you guys in the next video. Take care.