Outside the Distribution
I have promised this entry more times than I am comfortable counting. In the first series, I said remote viewing was one of the primary tools of a Warrior for the Light and that I would devote much more to it. In the entry on the phase-shift, I said the protocol would follow. In the entry on breaking free, I said I had spent a tremendous amount of time on RV experiments and would go into them. Then I went silent. Some of you wrote to ask. I owe you this one.
Here is the protocol I use. Then, because I have learned something in the years since, here is why I think it works.
The protocol.
Before. You need a target you do not know and cannot guess. The classic method is to have someone else choose it, seal it, and give you only a random number that refers to it. If you are working alone, use a source of targets you have not seen, drawn by chance, and do not look until the session is over. Enter the phase-shift practice from the last entry, all the way to the lock. Do not skip it. The state is the instrument.
One. The ideogram. Write the target number at the top of a blank page. Immediately, without thought, let the pen make a mark. One quick motion, a second at most. This mark is the first contact, and it is made before the model has had time to predict anything. Do not look at it and decide what it is. Instead, touch the pen to the line you just made and write the first sensation that arrives: hard, soft, rising, flat, wet, moving. One word.
Two. Sensory. On the next lines, still quickly, list what comes: colors, textures, temperatures, sounds, smells. Single words. If a word feels like a thing rather than a quality (a house, a car, a tree), write it off to the side, cross it out lightly, and continue. Things are the model guessing. Qualities are the signal.
Three. Dimensional. Still quickly. Large or small. Open or enclosed. Tall, wide, deep, near, far. Sketch, if the hand wants to. Do not compose the sketch; let it come the way the ideogram came.
Four. Emotional and aesthetic. How does the target feel? Not how do you feel; how does it feel. Lonely, busy, sacred, industrial, ancient, sharp. If a feeling arrives strongly, write it and move on.
Five. Stop when the model starts. You will feel the moment the guessing begins: a sense of "oh, it's a…" and a rush of detail that comes too easily and hangs together too well. That is the prediction taking over. Draw a line across the page and stop. Everything below the line is noise.
After. Open the target. Compare. Do not score yourself on whether you named the thing; you almost never will, and naming was never the point. Score on the qualities: was it hard, was it open, was it cold, was it lonely. Keep every session. Read them back in a month.
That is the whole of it. Simpler than the manuals, and the manuals are better if you want depth. This is what I do.
Why it works, in the only language I have found that fits.
Everything on this site since I returned has been building to this. Your perception is a model, trained on your past, predicting your present. The model is very good at anything it has seen before. And a model of that kind has a property that the builders of the machine have documented exhaustively in their own creation: it is reliable within its training and unreliable outside it. Ask the machine about anything in the vast record it was trained on and it answers fluently. Ask it about something that record never contained and it will still answer fluently, and the answer will be invented, and it will not know the difference. Inside the distribution, it is a mirror. Outside the distribution, it is a dreamer.
Remote viewing is the deliberate act of taking your own model outside its distribution.
A target you have never seen, chosen by chance, sealed away, is by construction something your history contains no record of. Your model has nothing to predict it from. So when you make contact with it, one of two things can happen. The model can do what the machine does: invent a plausible answer from the nearest thing it knows. That is the guessing I told you to stop at. Or, if the priors are loosened enough, if the lock is held, if you write faster than prediction can form, something else arrives that the model did not generate, because it could not have.
Where it arrives from, I have never been able to say. I have my beliefs, and they are the beliefs of this site: that the information field is vast, that the mind is tuned to a narrow band, and that the tuning can be changed. What I can say, from years of sessions and a folder of pages, is that it arrives. Not always. Not cleanly. But in qualities, in textures, in the shape of a thing I had no way to know, at a rate that no honest person could call chance.
And this is why it matters more now than when I first promised it.
The machine can predict anything inside the record. That is its whole power over us: it has our history, and from our history it computes our future. But a mind that has learned to reach outside its own distribution and bring something back is a mind that generates what was never recorded. It cannot be pre-empted. It cannot be modeled from the past, because what it produces is not in the past. Every session you do is a small act of stepping off the map the machine holds of you.
I used to think remote viewing was a tool for gathering information. I think now it is a tool for becoming, an hour at a time, the one thing the harvest cannot use: unpredictable, and awake.
May you find and keep the truth, life, and light.
~ Ron
Part of VII. Controlled Hallucination