studentname = ""; $this->password = ""; $this->player = ""; $this->speed = ""; $this->mspeed = ""; } } function getStudentID($username, $pass) { $myDB = new mysqlDB; $myDB->Connect("trvuniversity"); $myDB->Query("SELECT studentID FROM login WHERE username = '$username' AND password = '$pass'"); $row = $myDB->GetRow(); return $row["studentID"]; } } class TRVU_Assignment { var $status; var $hits; var $attempts; } $userdata = unserialize(urldecode($_COOKIE["trvudata"])); if ($userdata->studentname == "") {$error = "You are not authorized to view this page (TRV 101). "; include("/usr/sites/www.trvuniversity.com/error.html"); exit(0);} $myDB = new mysqlDB; $myDB->Connect("trvuniversity"); $studentID = getStudentID($userdata->studentname, $userdata->password); //1. are they enrolled in this course, and are they ok to view it? $myDB->Query("SELECT status, cstatus, UNIX_TIMESTAMP(enrolldate) AS enrolldate, UNIX_TIMESTAMP(expirydate) AS expirydate, UNIX_TIMESTAMP(completed) AS completed FROM training WHERE studentID = $studentID AND courseID = 1"); $row = $myDB->GetRow(); switch ($row["status"]) { case 0: switch ($row["cstatus"]) { case 0: break; //OK case 1: break; //course completed case 2: $error = "You are not authorized to view this page (TRV 101). Error: Course Dropped"; break; case 3: $error = "You are not authorized to view this page (TRV 101). Error: Unknown"; break; case 4: break; //trial user (OK for week 1) } break; case 1: $error = "You are not authorized to view this page (TRV 101). Error: Authorization Needed"; break; //case 2: $error = "You are not authorized to view this page (TRV 101). Error: Course Expired"; break; case 3: $error = "You are not authorized to view this page (TRV 101). Error: Administrative Hold"; break; case 4: $error = "You are not authorized to view this page (TRV 101). Error: Usage Exceeded"; break; } if ($error != "") {include("/usr/sites/www.trvuniversity.com/error.html"); exit(0);} ?> Technical Remote Viewing University: Remote Viewing Training Online
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TRV 101: Frequently Asked Questions - Stage 1
TRV 101: Frequently Asked Questions - Stage 1

   Q: In making the ideogram should there be much arm movement? I only ask this because when I look at the TRV tapes I see most people use very small ideograms with only moving the hand. Is it not imperative to get the ideogram right in order to correctly connect to the target? I always found my ideograms really large and long.

   
A: Produce your ideograms quickly - on first impulse - decode them correctly and you'll be "on target."

   (I still produce non-standard ideograms most of the time).

   Q: In what brain wave state is TRV best performed? What is the difference between peak and angle when describing motion in a movement exercise?

   
A: 1. High (amplitude) Theta.

   2. "Angle" refers to only right (90 degree) angles.

   Q: I seem to be a little uptight when producing the initial ideogram on my paper for mod 1 do you have any advice on this,, sometimes it is ok other times it is not .

   
A: The situation is no different than that for any other new skill. Just keep practicing until it becomes second nature.

   Q: What is the proper way to start composite ideograms?(Stare off at the wall in order to keep ahead of the conscious?)

   
A: Only specifically during "ideogram practice should you actually try to produce any kind of an ideogram at all.

   Q: I am just making jiggy-jaggy lines and then my interpretation of which motion words properly fit are sometimes different.

   
A: From watching the Gen II tapes you should know that there is "no correct way to produce an ideogram" however, there is inaccurate decoding which will throw you off target.

   Q: I waste time trying to decide between some of the close motion words or I guess it's not that exacting a situation?

   
A: You're wasting time.

   Q: I know I am supposed to JUST do it the way the program is set up and has proven successful but I was wondering, in order to throw off the conscious…

   
A: Nothing can throw conscious thinking off better then raw TRV data, such as S1 and S2, perceived in TRV structure.

   Q: Couldn't a person try reading something or counting when doing the ideogram, or would that be developing a bad habit and not needed anyway as a person would improve in time without doing that?

   
A: You should be producing and decoding the ideograms far too quickly to have time to read or count. Developing bad habits? Got that right.

   Q: Probing the first ideogram of a target gets the first perception about the feeling of the target. When one creates the subsequent ideograms and decodes them isn't there a problem with the feeling of the preceding ideogram corrupting the perception of the feeling of the subsequent ideogram(s)?

   
A: No.

   Q: Is the proper procedure, while staying in structure, to discard or somehow ignore all previous perceptions of feelings in previous ideograms through Stage 1? I only ask this because once the feeling of the first ideogram has been made known I often seem to stay locked on the first feeling even though when the target is revealed later that it should have had some other feeling. Should it be declared as an AOL while decoding the second through the consecutive ideograms?

   
A: Yes, if a "feeling" is present out of order declare it as an "AI" or "AOL" - drop your pen - then quickly pick pen back up and keep moving. Be careful with "should". This is a new skill for your conscious mind and your perceptual antennae probably has a thing or two to teach it.

   Q: I have seen several sessions with ideograms that ostensibly have similar characteristics in S1. The caveat that similar ideograms indicate an incorrect decoding of either the motion or feeling or both is well taken. My question is: "What are the criteria which dictate the initiation of another ideogram?" Is it the conscious observation of the visual similarity or is it based on the sub/pre-conscious level in the retrace?

   
A: (The topic is not "multiple," but "repeating" ideograms) If a subsequent ideogram is nearly identical -- visually -- to the previous one(s), then you have decoded the motion, feeling, or both, incorrectly.

   Q: Here is a complete miss. The target was a plain (Land), even though there's a mount on the left. This may be once more the result of contaminated data by AOLs or ideogram assumption, I still have lots of problems with that. When I declare AOLs and therefore objectify them, instead of sending them into the "trash" I have the opposite result, it becomes more present in my mind! By the end of this session I was discouraged and doubting myself and the method, so I remembered searching for older sessions to check for similarities. I found another session with exactly the same ideogram (session posted bellow) but this time the target was Mountain. What does this mean? Am I just making up the ideograms?

   
A: In the process of producing and decoding the ideogram, we are gaining some degree of (initial) 'experience' about the remote site. In TRV, recognizing the difference between the various S1 gestalts, i.e., integrating the knowledge-experience that is associated with correct and incorrect knowledge (gained via trial and error practice) is part of the beginning learning process. You are doing fine -- right where you should be on the learning curve. The old confidence that you had in your 'intellect' is going to be a thing of the past -- something to be questioned from now on, because judging and deduction is different than the 'direct knowledge' via TRV.

   So, simply stated, just remember the subtle awareness differences between a correct call, and an incorrect call, to wit:

   1. Do you remember how it 'felt' when you messed up that session? How about the feeling when you called the site correctly (the constant 20% running error rate, notwithstanding)?

   2. Hold on to those two new learned feelings (actually, 'cognitrons') -- they are valuable, and you WORKED hard for them. TRV is a complex skill and new trainees are exercising latent (atrophied?) "muscles groups" for the first time.

   Q: In the most recent posting of the Optimal Trajectory Session that Joni did for some lucky soul... I noticed she had more than one feeling in the decoding of ideograms. Is this acceptable structure for those at a moderate level of skill and still learning? Sometimes I get two feelings one right after the other. I typically just write down the first one and mark the second AOL.

   
A: You can write down as many as you perceive in the 3 seconds that you probe the ideogram.

   Q: In your Generation 1 course, you said: "We are not perceiving first we are receiving first the idea as information, and then the perception, and then its objectification is done on the paper as a written word or a sketch. We may be able to perceive the color red of what we receive first as an idea and then perceive it using our body sensorial --our tool for converting information decoding it and then perceiving it."

   
A: When we produce the ideogram we have received the package of information - As we proceed using the TRV protocol - we are unraveling the package - perceiving the data and objectifying the information on paper.

   Q: How Do I train to "receive" first? Or how to know the difference? I am beginning to believe that what I am doing is perceiving first and then using it as received.

   
A: You are doing fine - just keep it up.

   Q: Seems someone make the same mistake as I did on page one, when I'm writing the target # and make a mistake, like 2245/6213 instead of 2345/6213, can I keep going and make the correction with the next set of numbers. When I caught myself doing this I did an extra ideogram on page one. Should I have dropped everything and restarted later?

   
A: Abort the S1, and simply begin again with the correct reference number.

   Q:There's something I don't quite get. First, after writing the reference numbers down, I should produce the ideogram, right? This is supposed to be an gestalt of either a mountain, a land, a man-made-structure or water. Let's say it turns out to be a mountain. How could I not get an AOL then? I see a mountain, and the ideogram is supposed to represent a mountain. Welcome AOLs. I just don't get this.

   
A: Write down the AOL, and then proceed. That ideogram will present for many other things, later. In higher-level TRV work (i.e., targets which are not gross, geographical features) this ideogram may appear again. Such is often the case for targets such as a sailboat.

   This brings up the subject of rare and interesting Stage 1 quirks. Here are a couple:

   1. Many times a 'bay' will not evoke a water ideogram, until the second iteration of the target reference number prompt -- the first ideogram will be identical to that of a mountain, except for its feeling component. It would appear that the 'sail' gestalt is more novel in the Matrix than the water, at least for bays.

   2. The TRV target of Athens, Greece produces a mountain (rounded, not peaked) ideogram first, then structure. For at least a millennium, Athens was thought of as "The City on a Hill" and so became firmly rooted in the collective unconscious as such.

   Q: In S1 is it possible that the ideogram has nothing to do (in terms of archetype) with the target? E.g. we draw a perfect right angle and the target is Land. Or is this something that might happen only in a beginning stage as a result of still lack of practice? Also what is the purpose of getting the ideogram feeling? Just to help making contact with the target?

   
A: If you produce 'standard' ideograms, then the ideogram will always relate to a major site (target) gestalt.

   Yes, the purpose of decoding the ideogram's 'feeling' component is to solidify site contact.

   Q: Is it normal to perceive or "feel" the ideogram as you are writing the target ref. Numbers's... i.e. before the ideogram is actually created? In my first few sessions, this made me think I was imagining the ideogram and subsequently tailoring the sensory perceptions to conform to that preconceived idea. However, 3 out of 3 practice targets were dead-on.

   
A: It is normal to perceive all the wrong things out of order when first learning TRV. Our conscious minds must insist that our unconscious minds "dump data" at a pace that we can comprehend and digest, otherwise much of the data is lost. That's why "staying in structure" is so important. Think of your unconscious mind as a puppy that you are house and leash training. It's eager to please you.

   Q: I understood recently that it's allowed to draw the ideogram several times on S1 to increase target contact, and to verify if the first is the correct one (read on an FAQ). My question is: for each ideogram one draws is it necessary to write down the motion-feeling?

   
A: Yes. Any time an ideogram is produced, it requires decoding.

   Q: Now, you are told to reproduce your ideogram but when you create 4 of the same ideograms which one is it? Is it any of them already produced? You said in the video that when you produce your ideogram and it comes to be almost identical that is the wrong one, but if it were to be produced differently after the first time then the first is the right one. I had a session where I was viewing Moscow (blind target) and first I had a water gestalt, then a man-made gestalt, then another water gestalt.

   
A: Reoccurring ideograms mean that you have decoded the motion/feeling incorrectly. "Water" is too high level for S1 - try "liquid." Keep in mind that in the beginning, our antennas have a little difficulty discerning the difference between "soft" and "liquid." Through trial and error (using feedback) we learn.

   Q: I get nervous prior to each session and find that my ideograms are long (perhaps an expression of nervous energy?)---i.e., the first portion of the ideogram is usually "correct" but then there is a bunch of excess that generally screws me up. Any tips for this latter problem?

   
A: Yes. Stop it, else ignore anything after the half second point.

   Q: A couple of questions:

   1. Thus far, in my TRV sessions I produce somehow standard ideograms regarding their looking, but they rarely are standard in relation to content. For example, for a spider web I got a downward spiral; for pollen, life form; for a volcano, wavy across. I've got to disregard any meaning in my S1 to avoid being confused in the analysis. Any comments?

   2. I am on the target in all sessions, always identify correctly the overall features but in a loose way, sometimes assigning characteristics of one aspect to another or missing right proportions. Just the learning curve, or any problem in structure?

   
A: You are doing everything right -- keep it up. REGARDLESS OF WHAT THE IDEOGRAM "LOOKS LIKE," the key thing to remember is that its MOTION-FEELING MUST BE PROPERLY DECODED. I cannot overemphasize the importance of Stage 1; for many of us "intelligent folks," production of an 'ideogram' seems so primitive, indeed, useless. But, it remains the foundation of TRV.

   Q: I am going through module 1, watching the video, practicing ideograms, studying the module 1 check list and so forth. In the module 1.0 video when John is ascertaining the motion of the target after producing the ideogram, he seems to be generating the motion list based on the tangent of the ideogram as it appears from left to right. Is this good TRV or should I declare it as AOL and not think about it?

   
A: Not the way it "appears" -- don't 'eyeball' the ideogram -- but the way the motion changes were sensed, from ideogram start to finish. Dr. Turner was recapturing each motion, represented by segments (not vectors) of the 2-D written ideogram.

   Q:I noticed when John was doing the Holy Grail session, he usually decoded more than one gestalt within the ideogram. He drew the ideogram, then described the motion of part of it, wrote the feeling, and continued with more motion, and then a feeling. I have been just describing the entire motion of the ideogram, no matter how elaborate, then ending with the feeling. Do you just instinctively know, with practice, eventually, how many gestalts are within your ideogram? Like, when you have a looping gestalt, and an angled gestalt all in one ideogram, you just "know" or assume that's two separate gestalts?

   
A: When an ideogram is produced with gaps in it (separations) you may decode it separately (as he did in the session you refer to) or you may decode it all at once by writing 'gap' as part of the description of the motion. Whichever way you are able to do the fastest is the best way for you.

   Also, for motion gestalts, where it says to decode the feeling connected with whatever produced the motion, do you mean like, moving up, moving down, moving out, moving in, moving around? Or like, rushing down? Or is rushing a later stage 2 perception? "Rushing" is not an allowed descriptor for decoding the ideogram.

   It is too high level for the raw data in stage 1.

   The 'motion' feeling is perceived. It will not help you to engage imagination by looking and analyzing your motion descriptors. Your perception antennae will learn through trial and error on it's own. You only need to stay in TRV structure.

   Q: How am I doing? After receiving the tapes I watched Module 1 twice. I practiced Ideograms for 30 minutes. In my first 4 sessions, I had two hits, one miss and 1 1/2 (Land for Mtn.) Session 5 was a miss. I reviewed Module 1. Sessions 6 & 7 were misses. I review Module 1 again. Session 8 was 1/2 - water for South Pole. Over the next four days I reviewed Module 1 3 times and practiced ideograms (20 sheets, both sides). Sessions 9,10,11 were hits and 12 a miss. I always practice ideograms for 1 sheet before starting a session. So I had 5 hits, 5 misses and 2 1/2s. I have yet to hit a structure and my ideograms almost always are of the water type. My sessions ranged from 5 to 12 min.- most in 7-9 min. range. Even when I miss a target, I keep track of appropriate and inappropriate impressions and for the 12 sessions I had 135 appropriate and 45 inappropriate impressions. Am I on track?

   
A: You're on track. You can quit practicing the ideograms now. However, you may produce more than one ideogram in your S1's (do 2 for Mod. 1 targets). Be sure to produce them spontaneously and decode them quickly and carefully - this takes practice! Keep up a snappy pace and don't worry about what your ideograms look like while TRV'ing. Your hit ratio will increase.

   Q: During an actual session I have a problem making the ideograms. After writing the two sets of numbers I quickly move my hand to the right with the pen on the paper. I almost always produce a straight line with no subconscious twitch in my fingers or arm. Do I need to wait longer? Move my arm slower to the right? Just keep doing it and one day it will happen?

   
A: If you are producing the ideogram "on first impulse" then you are doing it right. Just take what you get, decode it, and move on. Part of the Importance of the Ideogram is just to kick off the TRV protocol. Some people do produce the same ideogram over and over (usually in the beginning). This will most likely change by the end of your first year. Don't worry about it. Just do it!

   Q: I want to make clear that I move my hand to the right consciously (because that is what I saw on the video). There is no subconscious movement involved (at least as far as I can detect). The pen would not move at all if I did not do this consciously. So, with that in mind, I understand your suggestion to be to continue to do this and most likely the subconscious twitch will come and that I am practicing correctly. Do I understand your post correctly? Thank you for your time and help.

   
A: Yes, you can move your pen to the right after writing the TRN's, however do not produce a manipulated or manufactured ideogram. If you do this accidentally, put a line through it, declare it as "miss" and start over by writing the TRN's again. Say, ready - set - go, if you need to, and let your hand go on the "Go" command.

   Q: I am still doing level 1 targets. From the time I first draw the ideogram I begin to AOL... with pen down my S2's are still colored (no pun intended) by my AOL's... with terrible results. So I reviewed the mod2 tapes... and started to draw and decode multiple ideograms. This broke my block and I now hit on 2 out of three blind targets sometimes better. I want to get my percentage up more before I move on to mod2... but since I grew up in the 50's and was taught to do as I was told... I would like to be sure that multiple ideograms are not out of structure for mod1?

   
A: MOVE FASTER! Drop the pen, pick it up, move on… Multiple ideo's are fine. Decode them correctly - don't linger - keep moving Worrying and/or analyzing your ideo's while in session provides imagination with an entree' to jump in early. Just do it and take what you get.

   Q: Can we go back and explore an ideogram for more detail, after the whole session has been completed? If so, how?

   
A: NO. You are no longer in structure.

   Q: When I targeted the Empty Quarter, Saudi Arabia, my ideogram included manmade structure and life form along with sand.

   
A: I don't want to rain on your desert, but produce the ideogram more than once in your initial S1.

   (I still produce & decode up to 3 or 4 on every target). Also, you should not be reading "sand" into an ideogram. That would be an AOL - ('AOL-sand' drop pen, pick pen back up)

   However, if you are getting too many AOL's in stage 1 YOU ARE MOVING TOO SLOW! SPEED UP and QUIT ANALYZING your ideograms when you should be acting like a good little "robotic" remote viewer! Analyze your data (ideally 10 minutes) after you're finished!

   Q: On the 1st generation tapes, someone mentioned getting a specific ideogram for a plant (instead of life form).He said he would discuss this later on but I don't remember him ever showing what that ideogram was. Did I just miss it?

   
A: There are separate (standard) ideograms for a plant (singular) and for vegetation (collectively).

   Vegetation often presents (ideogrammatically) as a 'soft' wavy line. (Note: when land is covered by heavy vegetation, then the feeling component of the land ideogram will decode as a combination of hard/soft, etc. Viewers often express this feeling by stating that their pen seems as if it is "penetrating" something, before hitting a harder substratum).

   When a singular (species of, or individual) plant is involved as a key site gestalt, then it will present as a life form ideogram.

   Q: When I produce my first Ideogram and get the motion and feeling, I then produce another one. When the second one is the same that means my first one was wrong(that is the motion or feeling was off target). Now I produce my third Ideogram with motion and feeling, which Ideogram am I comparing this one to?( The first one or the second one? ) If you could please refer me to some more information on this topic( other than the video). THANK YOU IN ADVANCE !!!

   
A: 1. The first one.

   Q: I have finished the set of example targets and have moved on to magazine cut-outs. I find that after producing the ideogram I seem to have made up my mind that's it's water, for example, so when going through S2 I'm attracted to many of the descriptions that point to water. (So far when this happens it's been accurate) If this happens what I try to do is race through stage 2 to avoiding thinking. Question: Does that first impression fit with TRV structure?

   Also, when assigning S2 descriptions to the S3 drawing, so far the process feels random. Any hints concerning this step would be appreciated.

   
A: 1. Very often, the viewer can indeed sense the correct S1 gestalt. The problem, however, is when this sense is incorrect. The error compounds, degrading the overall TRV session (think of a building sitting upon a faulty foundation).

   2. This is a learned detection skill/sense -- "Subtle is the Lord" (A. Einstein). One of the most commonly heard complaints in TRV is that the viewer "doesn't feel 'connected' to (i.e., doesn't 'experience') the signal line. But it is this neutrality that partially helps to make the tool so accurate -- bypassing both our own conscious mind, as well as our emotions -- with strict emphasis upon only the cold, hard, objective data. (This week, I am working yet another child abduction case -- another very unpleasant one. How effective do you think that I could be, in LOCATING THE TARGET, if I became 'connected' to this signal line...or, allowed myself to become caught up in the drama?) Some remote viewing neophytes, not happy with the dryness of TRV, look for "schools" that strive to "teach" a "better connection" -- only to find "teachers" who lack a fundamental understanding (not to mention, experience) of the serious pitfalls that will be encountered along the way, as both "teacher" and trainee stumble along, jointly attempting to reinvent the wheel, or trying out their new square one. (Over the last few years, many an errant TRV trainee has found their way back to PSI TECH's doors, after discovering the immutable facts of RV life).

   Q: If the target photo is of a diver, underwater, and my husband circled the diver, drew an arrow to him and wrote "target" "diver" and the target number, would I get a water ideogram, or only ideograms relating to the diver? I TRV'ed this target, and didn't get water, or underwater ideograms, but did get life form, and almost all of the S2/S4 data regarding the diver was on, as well as the S3 sketches. The problem was, when I tried to analyze...since there was no water aspect anywhere, my analyses were way off again.

   
A: Unfortunately, in cases such as this, a water ideogram is rare. Even the pros (including me) may not become aware of the fact that the target is submerged, until well into the session. But note: in the first S3, there is almost always a line above the target that, to the experienced eye, is indicative of a buried or submerged site aspect.

   Q: I have been through the intro video and have done a few practice sessions. My question is: if the ideogram is incorrect in the beginning, then haven't I failed immediately? Also, since I'm not supposed to think, do I just sketch the first thing that comes into my head or am I missing something?

   
A: The ideogram is the most mysterious element of TRV - It is also the most essential.

   How "the ideogram appears" to you doesn't necessarily dictate it's accuracy. The secret is to go through the motions of producing it and decoding as quickly as possible - the rest will fall into place.

   At your stage in training you need to just do it until the order of the stages become autonomic (at that point you will begin to see incredible accuracy). Don't try to repress your thinking - declare your thoughts as "AOL-" drop-pen-pick-pen-back-up-and-resume.



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