Remote View (Guidance)

Procedure

Step 1: Guide Cooldown

Transition the viewer from analytical daily-mind into the receptive state required for remote viewing. Do not skip this step.

1. "Sit comfortably with your paper and pen ready"
2. "Close your eyes and focus on your breath for 5 minutes" (guide using meditate-guidance Steps 2-3 if needed)
3. "Release all expectations about the target — you know nothing and should want to know nothing yet"
4. "Let your mental chatter slow naturally — don't force silence"
5. "When you feel a shift from thinking about things to simply being present, let me know"
6. Once ready: "Open your eyes and write the target reference at the top of your paper"

Provide the target reference only when the viewer confirms readiness.

Expected: A calm, open mental state with minimal internal dialogue. The analytical mind is quieted but not asleep. The viewer appears alert and receptive.

On failure: If the mind remains busy after 5 minutes, extend to 10 minutes. If a specific concern is intrusive, instruct: "Write that concern on a separate sheet — your 'parking lot' — and set it aside." Do not begin Stage I while the viewer is mentally agitated.

Step 2: Monitor Ideogram Production (Stage I)

The ideogram is a spontaneous mark made in response to the target signal. Guide its production.

1. "Write the target reference on your paper"
2. "Touch your pen to the paper"
3. "In one quick, spontaneous motion, let the pen make a mark — don't think, plan, or draw deliberately"
4. "The mark should take less than 2 seconds — a short squiggle, curve, or angular mark"
5. Once produced: "Now decode the ideogram — probe it for:"
   • "A: What is the activity at the site? Motion, stillness, energy?"
   • "B: What is the feeling or sensation? Hard, soft, wet, dry, warm, cold?"
6. "Write the A and B components next to the ideogram"
7. If the ideogram feels incomplete: "You may produce one more — but no more than 3 total"

Watch for deliberate drawing. If the viewer takes more than 2-3 seconds, intervene.

Expected: A spontaneous mark that feels "arrived" rather than "drawn." The A/B decode produces immediate, simple descriptors, not complex imagery.

On failure: If the ideogram is clearly deliberate (the viewer thought about what to draw), instruct: "Set that aside. Close your eyes, take 3 breaths, and try again." If they cannot produce a spontaneous mark, the cooldown was insufficient — return to Step 1.

Step 3: Guide Sensory Collection (Stage II)

Systematically collect sensory data about the target without interpretation.

Stage II Sensory Channels:
┌──────────────┬────────────────────────────────────────────────────┐
│ Channel      │ What to Report                                     │
├──────────────┼────────────────────────────────────────────────────┤
│ Visuals      │ Colors, brightness, contrast, patterns (NOT       │
│              │ objects — "blue" not "ocean")                      │
├──────────────┼────────────────────────────────────────────────────┤
│ Textures     │ Rough, smooth, grainy, slippery, porous, metallic │
├──────────────┼────────────────────────────────────────────────────┤
│ Temperatures │ Hot, cold, warm, cool, ambient, fluctuating       │
├──────────────┼────────────────────────────────────────────────────┤
│ Sounds       │ Loud, quiet, rhythmic, sharp, humming, rushing    │
├──────────────┼────────────────────────────────────────────────────┤
│ Smells       │ Sharp, sweet, chemical, organic, damp, dry        │
├──────────────┼────────────────────────────────────────────────────┤
│ Tastes       │ Metallic, salty, sweet, bitter, neutral            │
├──────────────┼────────────────────────────────────────────────────┤
│ Dimensionals │ Wide, tall, narrow, enclosed, open, deep, layered │
├──────────────┼────────────────────────────────────────────────────┤
│ Energetics   │ Moving, still, vibrating, dense, light, pressured │
└──────────────┴────────────────────────────────────────────────────┘

1. "Go through each sensory channel — write one descriptor per line"
2. "Write quickly — first impression only, don't deliberate"
3. "Use single words or short phrases, never sentences"
4. "If a channel produces nothing, write 'nothing' and move on — don't fabricate"
5. "Circle any descriptor that feels particularly strong or confident"

Monitor for analytical labels creeping in. If the viewer says "ocean" instead of "blue, moving, wet," redirect: "That sounds like an interpretation — what are the raw sensations underneath it?"

Expected: A list of 10-20 raw sensory descriptors that feel "received" rather than "invented." Data should be low-level (textures, colors, temperatures), not high-level (names, functions, labels).

On failure: If every descriptor feels fabricated to the viewer, instruct: "Stop. Close your eyes. Take 3 breaths. Touch your pen to the ideogram and reconnect." If one channel dominates, redirect: "Shift to a different sense — what about temperature? What about texture?" If the data stream dries up, move to Stage III.

Step 4: Guide Dimensional Data (Stage III)

Move from raw sensory data to spatial and structural information.

1. "Close your eyes briefly and sense the overall scope — is it large or small, enclosed or open, natural or constructed?"
2. "Begin a rough sketch of the spatial layout — not a picture, just proportions and relationships"
3. "Probe for dimensions: height, width, depth — how many distinct areas?"
4. "Note spatial relationships: what's to the left, right, above, below?"
5. "Write dimensional descriptors alongside your sketch"
6. "Note Aesthetic Impact (AI) — how does the target make you feel? Not what it is, but how it affects you"

Expected: A rough spatial diagram with dimensional annotations. The target's general scope becomes clearer. Aesthetic impact notes capture the "feeling" of the site.

On failure: If the sketch feels like pure imagination, simplify: "Draw only basic shapes — circles, rectangles, lines — representing spatial relationships." If no dimensional data comes, redirect to Stage II: "Go back to sensory probing. Look for dimensional hints in textures and temperatures."

Step 5: Guide Target Sketching

Coach a more developed visual representation from accumulated data.

1. "On a fresh sheet, draw what the accumulated data suggests — NOT what you think the target is"
2. "Use your sensory descriptors to guide the sketch — if 'smooth, curved, tall' appeared, draw a smooth curved tall form"
3. "Label areas of the sketch with the sensory data that generated them"
4. "Add any new impressions that arise during sketching"
5. "Don't erase or second-guess — if something contradicts an earlier impression, draw both and note it"

Expected: A sketch representing the perceptual data, labeled with its source descriptors. It may not look like anything recognizable.

On failure: If they cannot sketch, accept written spatial descriptions: "Tall form center, low flat area right, rounded shape upper left." Reassure that the sketch is an organizational tool, not an art exercise.

Step 6: Manage Analytical Overlay (AOL)

AOL management is the monitor's most important function. Watch for it throughout the entire session.

AOL Types and Monitor Response:
┌──────────────────┬─────────────────────────────────────────────────┐
│ Type             │ Monitor Action                                  │
├──────────────────┼─────────────────────────────────────────────────┤
│ AOL (naming)     │ If the viewer says "it's a bridge" — instruct: │
│                  │ "Declare 'AOL: bridge' on your paper and move  │
│                  │ on. Don't pursue or suppress it."              │
├──────────────────┼─────────────────────────────────────────────────┤
│ AOL Drive        │ If naming becomes insistent and recurring —     │
│                  │ instruct: "Write 'AOL Drive: [label]' and take │
│                  │ a 60-second break with eyes closed."            │
├──────────────────┼─────────────────────────────────────────────────┤
│ AOL Signal       │ After declaring AOL, extract the signal:        │
│                  │ "The word 'bridge' — what raw descriptors are  │
│                  │ underneath that? Spanning? Long? Connecting     │
│                  │ two areas? Write those as valid data."          │
├──────────────────┼─────────────────────────────────────────────────┤
│ AOL Peacocking   │ If the viewer constructs elaborate scenarios — │
│                  │ intervene: "Write 'AOL/P' and return to Stage  │
│                  │ II basics. Report raw sensations only."         │
└──────────────────┴─────────────────────────────────────────────────┘

Emphasize: "The discipline is not avoiding AOL — it's catching and declaring it so it doesn't contaminate your data. Every viewer experiences AOL. Skill is in how fast you catch it."

Expected: AOL is recognized within seconds, declared on paper, and the session continues without derailment. Sensory-level data stays separated from analytical labels.

On failure: If AOL takes over (the viewer has been constructing a narrative for several minutes), intervene: "Let's call an AOL Break. Close your eyes, take 10 breaths, and we'll restart from Stage II." Mark heavily contaminated segments in the session record.

Step 7: Guide Later Stages (Optional)

For experienced viewers, later stages probe deeper. Only proceed if Stages I-III produced solid data.

Stage IV (Emotional/Intangible):

1. "Probe for the emotional tone at the target site"
2. "Note intangible impressions: purpose, significance, historical context"
3. "Write these separately and mark them as Stage IV data"

Stage V (Interrogation):

1. "Direct specific questions at the target: What is the primary function? Who is associated?"
2. "Write the first impression — don't deliberate"
3. "Mark all Stage V data clearly — it carries higher AOL risk"

Stage VI (3D Model):

1. If materials available: "Build a clay or detailed sketch model from all your data"
2. "Use this to test spatial relationships and discover overlooked elements"

Expected: Deeper, more specific data about the target beyond physical description. Stage IV+ data requires strong I-III foundation.

On failure: If later stages produce only AOL, redirect: "Let's step back to Stage II. The protocol is sequential for a reason — each stage needs the foundation of the one before it."

Step 8: Close and Review

End the session formally and conduct a structured review.

1. "Write 'Session End' and the current time on your paper"
2. "Review all pages in order: ideogram, sensory data, dimensional data, sketches, AOL declarations"
3. "Circle the 5-10 data points you feel most confident about"
4. "Write a brief summary — 2-3 sentences about what the target feels like, not what it is"
5. If target feedback is available: reveal the target and guide comparison
6. "Compare data point by point — note hits, misses, and AOL contamination"
7. "File the session for future reference and pattern recognition"

Expected: A complete session record with clearly separated raw data, AOL declarations, and summary. Upon feedback, some data points match, some miss, some are ambiguous.

On failure: If the viewer feels the session produced nothing useful, guide them through review anyway: "Viewers frequently underestimate accuracy because they look for exact identification. A description of 'tall, smooth, cold, outdoor, historical' that matches a monument is a successful session — even without naming it."

Validation

• Cooldown was performed and verified before Stage I
• Ideogram was spontaneous (under 2 seconds), not deliberate
• Stage II data consists of low-level sensory descriptors, not analytical labels
• All AOL was caught and declared on paper at the moment of recognition
• Session progressed through stages sequentially (I → II → III → sketch → higher)
• Target was blind to the viewer throughout the session
• Session was closed formally with summary before feedback
• All session papers are preserved for review
• Monitor maintained protocol discipline without leading the viewer's perceptions

Common Pitfalls

• Leading the viewer: The monitor provides protocol structure, not content hints — never say "try focusing on the structure" if you know the target is a building
• Insufficient cooldown enforcement: Let the viewer take the time they need — rushing into Stage I is the most common cause of poor sessions
• Failing to catch AOL: Monitor must actively listen for analytical labels and intervene immediately — letting AOL run unchecked contaminates all subsequent data
• Over-monitoring: Constant interruptions break the viewer's signal contact — intervene only for AOL, protocol violations, or viewer distress
• Front-loading: Any information about the target before the session biases all data — maintain strict blindness for the viewer
• Dismissing ambiguous data: CRV produces descriptive matches, not identifications — train the viewer to value accurate description over naming

Related Skills

• remote-viewing — the AI self-directed variant for approaching unknown problems without preconceptions
• meditate-guidance — shamatha concentration is the foundation of the mental stillness required for CRV
• heal-guidance — energy healing and remote viewing share non-local awareness; both benefit from the same coaching approach
• forage-plants — detailed sensory observation of plants develops the perceptual acuity used in Stage II