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/"); 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/"); exit(0);} ?> Technical Remote Viewing University: Remote Viewing Training Online
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TRV 101: Frequently Asked Questions - Stage 4
TRV 101: Frequently Asked Questions - Stage 4

   Q: Something different is happening with my S3's. They used to be very detailed. Now, the data in my S4's wants to be longer... like two pages. What do I do?

A: Stage 3 sketches are not supposed to be "very detailed" (Stage 6 drawings, however, are). It would appear that you have finally mastered S3. Now, stop doing what you "want" to do, and follow the instructions. Anything beyond the 2/3 page point in S4 should be considered nothing but AOL.

   Q: I'm facing the following problems during S4:

   1- I don't get any impressions or I can't translate them into words. I may feel the data is there but I'm not able to label it and objectify into an impression. I tried using the S2 list but that eliminates the spontaneous packs of data.

   2- I still remember the S2 data I got regarding the aspect, and so that's what pops up during the S4.

   3- I keep visualizing the S3 sketch I just finished before and try to fit the data according to it, especially when the s3 resembles something. I always declare all this as AOL's, but it seems I'm to being able to get rid of it. I sometimes feel like killing my Ego! (Any suggestions not too Painful? I never keep the pen still more than 3-4 seconds. I try to keep moving.)

A: A little information overload? Module 1 was elementary school. You're starting to run with the big dogs, now.

   #1 - This is the real problem (that you have self-identified). Fix this, first, by slowing down a little. There is much more information that unconscious must deal with in S4 (your "aperture has widened," as Ingo used to say). It follows that more time is required for our sensorium to integrate the increased amount of available S4 Matrix pattern contact data.

   #3 - You are just going to have to accept the fact that there exists a part of 'you' (plugged into the collective mind, and divorced of personal ego) which is far more reliable and competent at solving human knowledge-based problems, than your conscious mind (a very painful realization for me, years ago; something that my own ego did not easily accept!). The best way that I know of to effectively get in touch with this 'higher power' -- and avail yourself of the knowledge base that it has access to -- is to practice TRV.

   "We have met the enemy, and he is us."

   Q: In stage 4, do we use the checklist or use any perceptions, dimensions, etc. that we receive that may not be on the checklist?

A: You are not limited to the words in the checklist in S4. "A few," "many," or "about six feet tall" is acceptable for the dimension column. You should wean yourself from using the checklist because even though it is helpful in the early stages of training, it will eventually hold you back.

   Q: I still do not get it. Do you mean that beside the AI's and AOL's elements declared in the S4 columns I also have to declare them again out of the columns at the bottom of the page?

A: No, not 'at the bottom of the page'.

   Writing the name or description of the AI or AOL is not sufficient. In addition to the column heading, you must write "AI -"

   next to your AI's and "AOL -" next to your AOL's and take the required break (dropping your pen) for each, in Stage 4.

   The dash (-) is an abbreviation for "break."


   AI - overwhelmed

   AOL - Explosion

   Do not label data from any of the other columns in this manner.

   Q: Would it be considered outside of structure to create pre-generated forms in which to place our TRV Data? Specifically, I am thinking about the Stage 4, 8-column table. This would help keep the data limited to 2/3 of a page and would also help keep items within columns. If this would be considered outside of structure, is it due to the pace and keeping in contact with the target while drawing the table, etc.?

A: Using a pre-generated S4 table is O.K. as long as it is exactly the same as TRV protocol requires.

   Q: How does one distinguish between AOL and tangibles and intangibles?

A: Trial and error and practice.

   Q: I was wondering if you write a cue like the one we had, and then place target reference material inside of a specific event, would you get a combination of both the event in the photo as well as the general data in the cue?

A: Yes

   Q: Or does your mind automatically narrow in on the event in the photo?

A: Yes

   Q: For example, if the cue is The Alps, and I put a photo of a team of explorers in bright colors setting up a camp, am I going to mostly get the camp and the explorers, or mostly the Alps, or both?

A: If the cue is only "the Alps" you may get aspects of the campers (regardless if they are in bright colors or not), however, a disciplined TRV'er will mainly focus in on collecting data about "the Alps."

   Q: This water thing is tough! I still can't distinguish my event ideograms from my water ones.

A: Concern yourself with you cadence and pace and TRV structure. Stop worrying about what your ideograms look like. The data will surface in the other stages.

   Q: While doing the Target of the Week #41's 'movements' I came about one for sex identification? What are the attributes that we have to look for sex identification. I searched the BB for "male, female, boys, girls, masculine, feminine, and sex" but there is no subjects classification for these. The only answer I found was to identify by photograph. If this is the answer, should I use one of my drawings to further investigate the sex and what would be the cue?

A: The sex of a Life form is a refined piece of data that we learn to identify correctly through 'trial and error.' In your 3rd or 4th stage 4 touch the LF briefly with your pen then put your pen in the 'I' column - ask yourself - is this Male or female?

   Q: Your session had a section that was labeled "S4" What is that?

A: Occasionally, well into a TRV session, the S4 table may become unwieldy, especially for the expression of allegorical overlay. S4 1/2 allows the skilled TRV'er to enter short sentences -- 'narratives' -- in order to express complex ideas. BUT, caveat emptor, this is touchy business, and the viewer must immediately return to normal S4 rigor, or risk losing the signal line to AOL.

   Q: I just had the failure session of a lifetime. I should get the award for the most miserable miss. Is it just me, or does anyone else have difficulty using vegetables as cues for blind target sessions? My chioggia beet ended up being a uniformed lifeform at a huge observatory or energy facility at the top of a mountain. Quite a feat for a little beet.

A: Because there is little or no S4 data attendant with such targets, advanced students 'find' data to place in S4. Your mistake is common. Stay on your toes.

   Q: This may be too advanced as of yet... But how would one get a description of a life form, such as middle aged male, in a single session, as you viewer apparently did in the Life Magazine article? I just get circles all the time.

A: Stage 4 table

   Target geometry

   Stage 6 sketch (of an Idea Template element)

   Q: I got the idea that I could be a bit for "fluid" with my choice of words though. After-all, luminescent is not a color. I was taking "colors" to mean "visuals".

A: There is no problem with placing 'luminescent' down as a color. Don't get wrapped around the axle in this department, and don't beat yourself up.

   With regard to your other concerns: remember, you may not edit anything - any and all ideas that enter conscious awareness during a TRV session must be engaged and properly adjudicated.

   TRV is a skill. There is a lot to learn. Things may, indeed, seem a little tough in the beginning stages, but the rewards are great.

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