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Lyn Buchanan's CRV

The Young Artist

This is actually a set of two brief analogies.

The Analogy:

If you give a blank outline map of the United States, with no state lines showing, to a young person, and ask him to draw in his state, he will always draw it in way too large. (Well, except for Texans, anyway) The reason is that it is important to them, whereas the other states are not. If you ask them to draw in another state, one unimportant to them, it will wind up much smaller than it really is.

If you ask a beginning artist to paint a picture of a human, he/she will almost always draw the head, hands, and feed too large. Those are the parts he/she wants to get most correct, so without realizing it, he/she will make those parts larger.

The Meaning of the Analogy:

On both a conscious and an unconscious level, we all tend to set degrees of importance on the various aspects of our lives and the things in it. Something which is of great importance to us not only takes more time in our thoughts, but also begins to appear to our mind's eye as "larger than life".

Controlled Remote Viewing is a "Martial Art" - it is every bit as much a physical discipline as it is a mental one. Fully half of the work we do is ideogrammic and graphic in nature, while the other half is the listing of words in various columns.

It should be no surprise, then, that the graphic portions of the CRV process will fall prey to the same principles which cause the child to enlarge his own state on the US map, and the inexperienced artist to enlarge those parts of the body which require the most work.

In CRV, this process is called "Rubberbanding". It exhibits itself in such things as sketches, timelines, dowsing maps, clay models, and even the basic ideograms, themselves. The reason for it is simple:

The <graphic or ideogrammic> portions of CRV show the target as your subconscious mind sees it, not necessarily as it would look to your conscious mind, using your eyes.

For that reason, if you look at remote viewing sketches with an eye to graphical accuracy, you are often disappointed. But, if you understand that the sketch is a window into the subconscious mind, to see how it views the target - what is and is not important on a gestaltic or subconscious level - you gain even more information from the sketch than if it were simply a pictorial rendering of the physical aspects of the site.

Television producers, not having the vaguest idea of this principle, most often document the work of a remote viewer by showing only the graphics. What they want is a quick shot comparing a sketch to the feedback picture. More often than not, they report that there are serious errors in the sketch, and further conclude that it indicates serious errors in the remote viewing process, as well. Simply telling that the sketch shows the way the viewer's subconscious sees a target site would clarify many things to a wondering and interested public. But, to their way of thinking, such explanations are beyond the public's ability to comprehend. They are there to entertain, not to educate.

With the proper understanding of the principle of "Rubberbanding", it becomes clear that, for example, the closer you get in dowsing to the correct location, the more some tiny error is going to be exaggerated. Your mind will see the target as though it had a magnifying glass around the proper location, and will mark, say, a 10 foot error a hundred feet away on the map. When you work a timeline, you may make evenly spaced tick marks on it for, say, Monday, Tuesday, etc. But your subconscious mind will see the target time swollen and enlarged. A series of events which all occur within a single day may be graphically expanded to cover a 3 or 4 day span on the line.

>Just like the beginning artist can practice and train to the point where this tendency is mostly negated, so can the remote viewer. But this is a natural human tendency, and it may take years of training and practice to overcome it.