Pages 2.0

PLEASE NOTE - This is a staged learning process. If you're reading this, you have learned Phases 1 - 3, and now it's time to learn Phase 4 to be incorporated into a single Phases 1 - 4 ABS session, picking up at the end of Phase 3 Sketch/es and continuing into Phase 4. The form you'll be using for Phases 1 - 4 now has the Phase 4 input fields added to it at the end of Phases 1 - 3.

Maybe you've already figured this out, but other than as an observer and recorder of information, the only other way we want your small conscious mind involved in a session is to willfully control the volume of data. It's like a faucet, where you yourself control the flow. In the first three phases you opened the faucet a little, and now it's time, in Phase 4, to open it even wider, to move on to the next widest aperture level of perceptual flow.

Tip - The below information is a bit to take in, no question, but don't sweat it. Having read through all this before attending a live class just makes it all clearer. After you've begun your first or second session, feel free to refer back to this page. This obviously could mess with the signal-line some, maybe, but after one or two of our Phase 4 live classes, and a few sessions with Phase 4 incorporated, you'll have it down. You'll see. Plus, in the session page itself all of the cuing needed is there.

As well, if you go through a session in which you do refer a few times back and forth to this page, and you're not happy with how the signal-line felt, don't submit it. Just hit the "Clear" button at the top and start over. Feel free to practice in this way as many times as you like, but we strongly recommend no more than one repetition of the same target.

Also worth noting, as has most certainly been mentioned some time or another, if you're the visual type, you might have received a strong enough visual impression as early as Phase 2. In this case, grab your paper and make your sketches. Obviously you would just label the page as your first sketch: 60867 1405 SK1.

Phase 1 brought through general, primitive, site and environmental information by way of feeling alone, letting you reflexively select fre of any sense of commitment. Phase 2 brought sensory information on board, anything sensory, tangible, geometric, sizes and volumes. Using that wider info array a visual form might have begun resolving, and whether or not it had at that stage is determined truly by how you're built. If nothing visual had come through at the Phase 3 Sketch/es, don't sweat it...maybe it will, maybe it won't. Again it just depends on how you're built. If you did get a visual impression, this was recorded through a Phase 3 Sketch. You then practiced Phase 3 PSS, and probably some Deductions, or what we can also call "Conscious Associations," before moving forward and biting off this next perceptual chunk, Phase 4.

The above was to give you a mental review of how the structure of the system gives you control of the session's volume of data flow, lets you use your will to establish the higher mind's feeding of data on its side of the equation, and to feed you the data the way, and in the volume, of your personal design, pace and preference. It's also to show you how your conscious mind is programmed to make associations and therefore define, and thus is clearly a training system on how to set aside the "persona" aspect of you in favor of the trans-personal "objective observer" aspect of you. Maybe it's a good idea for us to switch from "faucet" now and go with "bandwidth" and "aperture" and "immersion" when referring to the volume of dataflow. All in favor? Done!

Phase 4 Overview

Phase 4 is where the heart of a session truly does begin. The format of Phase 4 work is a matrix in which you enter different categories of data. The matrix consists of columns that are each headed by a different data type. As you have presumably read elsewhere, Phases 1 through 3 are designed to strengthen and clarify the signal line to bring through raw data and as little conclusive or defining information as possible. Phases 4 through 6 are designed to increasingly bilocate your awareness more completely at the environment being comprehensively "taken in" by your higher mind, now allowing concepts, emotions, purposes, energies, frequencies, symbols and other tangible and intangible information as actual data, which is once again you turning up the knob to increase the bandwidth, or what we will now sometimes refer to as "immersion," which is a reference to how deeply you are immersed with a piece of your conscious mind at the target scene.

Tip - It's important to note that some people become so immersed at the target scene they become dissociated, meaning so "out there" that the local waking conscious mind is much more removed from a local pure awareness standpoint. This is all right. It just shows how you're built. Other people, the more left-brained types, will tend to remain completely conscious in the local conscious space, meaning very little to no dissociation, while being increasingly conscious of the target space.

Here is a sample Phase 4 Matrix:

So now that you've seen the matrix, picture it like this. Imagine a dataflow of quite an array of information "types" or "categories" as pretty much any target scene is going to have quite a variety of information types. All you are doing in probing a given signal-line, or Matrix, category is deliberately and consciously "selecting" from that wide-array dataflow information specific to the column you're probing.

How it is selected is by "pressing" the cursor into the signal-line category and asking for that category of information. And again by "pressing" we mean position the cursor in the field, and then press on the left click, which is a sort of "physical" way to press your feelers deeper into the target scene, like dipping your toe in water.

Here's how you do it. Position the cursor into the input field, and then close your eyes while "pressing" into it and say something like "bring the visual data. Colors..." and record what comes, "Luminosity..." and record what comes, "Contrasts..." and record what comes. All visual information is prompted for and entered here. Remember to not linger in a field for more than about eight or ten seconds if it seems no data is coming through. Just listen with your whole being, open, receptive and empty, and if nothing comes, move on. How about another example. Let's say you've already typed a couple of entries in the "Materials" field. Then your query might be something like, "Are there other materials I need to add?"

After you have probed it cold, meaning you haven't clicked on cuing examples, go ahead and do that and see if the examples trigger anything further, including the examples themselves. What we mean by that is that some of the example cuing vocabulary words might stand out for you and actually apply. If so, then go ahead and enter them.

Conversely, left-brain types might prefer to open and scan the examples first as a kind of priming pump to start the data flow, and then use the above techniques following that. The author of this course prefers this method, as an example.

Tip - This is a good place to mention that copious amounts of data, if it comes, is a good thing, even if you suspect that whatever the databit is came from you, that you did the informing. By allowing as much information through as possible, you have cued the higher mind to go ahead and open a wide flow that you still intend to manage with the structure. What happens in later phases is taking this wide flow, this wide information array, and narrowing it down to more succinctly descriptive understanding regarding the target scene.

Moving from left to right, probe each category in this way. After a few minutes you might find that resting your left hand on the keys, ready to type, while closing your eyes and pressing the cursor into the input field, also works nicely, now no longer needing to probe the target portal symbol.

Tip - If visual impressions float in that are strong enough to sketch, grab a clean sheet and sketch away. We encourage all the sketching you want to do. Label the page at the top with whatever sketch it is in the session. Let's say it's your third sketch of the session, the first done in Phase 2, the second in Phase 3 Sketches, and now this one. So with these sample coordinates it would be 60867 1405 SK3. Again, if in the sketches there are features, label them 1, 2, 3 and so on, as well. Sometimes the bandwidth can just spontaneously amp up, and you might begin to get some decently resolved visual imagery. This can be both good and bad, depending upon how NOT sold you are on your Deductions. Just be mindful that even with strong visual imagery it can still be a Conscious Association, but don't let that stop you from sketching.

Also, there will at times be overlap. You could be probing the Visual category and you get impressions that belong in the Structural category. All you then do is click into the Structural column and type away, then hop back over to the Visual column to continue probing for that data type. In this way, it's possible you could hop around the Matrix a bit, which is just a way to continue categorizing multiple impression types as they flow "in."

Because Phase 4 is where your bilocated awaress begins to phase more and more completely into the target scene, it's not uncommon when sensing a complex target for you to move at a swift pace while filling out the Matrix. If this doesn't happen for you, though, don't give it a second thought. If the data comes through drip-by-drip, it's also a comfortable pace. While speed may suggest more reflexive-like responses to probing, the cadence we've talked about before, this 8 to 10 second (or heartbeat) rhythm, remains a solid tool to get things going but limiting your conscious mind's time to begin formulating definitions. In the same way, when the signal-line category data slows to a stop, you move on (or do a Movement Exercise - more below on that).

Glossary

Objectify - The act of converting the formless, like a thought or impression, and making it “real” by, in our case, typing it out in a ABS session.

Bandwidth - The volume of dataflow being allowed to pass through the signal-line conduit.

Immersion Level - Related directly to bandwidth, referring to the degree or level of your bilocated awareness' immersion in the target scene.

Immersion Level - To more effectively cue the portion of your bilocated awareness at the target scene, you can set how immersed that you is to be in it, which is just another way of saying "bandwidth," or even "dataflow," with the one difference being that "immersion level" cues for a more experiential session. Don't forget that the Immersion Level tool can be both a bandwidth control AND focuser. So, as an example, you could crank up the Immersion Level, but in so doing skew the focus. This is why it's so important to use your intuition when setting it. What you're wanting to do is find the "sweet spot" for yourself, which CAN depend upon how far you are into Phase 4. Turning it up isn't always the best thing, as an example. The way to do it is position the cursor over the slider and close your eyes. Slide it up and back and FEEL for the sweet spot. Approximate locations are perfectly all right.

Here's what you'll see in the Phase 4 Session form just beneath the target portal symbol:

It's time to talk a little about objectification, or objectifying, and more pointedly the need for it. Visualize it this way: information is flowing to you, and if it remains unexpressed, or un-objectified, it will become backed-up, overloading and chaotic in our waking conscious mind, which is the very limited receptacle you're using to observe and record. If data is left un-objectified, it's just like saying un-recorded, and it builds up. As it points out in the Session Mindset document, un-recorded information is you deciding on the fly what belongs and what doesn't, and that's not your decision. It also disengages you from higher mind. This is why everything in an ABS session must be objectified, meaning must be expressed, or recorded.

While you must continue to see your own imagination and/or personal analysis, and biases, as the overlaying of your conscious associations on the raw data flow, Phase 4 allows you to use nouns, names and other types of definitions. However, it remains important to remember not to define or judge data in any way and that the primary job is to keep your own conscious mind out of the way, by staying open, receptive and empty, listening with your whole being, and accurately describe the target without giving it a name. (In our world, and this is important, defining and judging are precisely the same thing.) So, likewise, Deductions will still be Deductions in the Phase 4 Matrix, in other words, but they are now regarded as data, but even still might have to be let go using the Mental Tool for that. Whether or not this is necessary depends solely on how much of a distraction your deduction is, which is just like saying becoming disengaged from higher mind.

Here we'd like to give some fun little examples of what our conscious mind can do with raw data to create personal fantasies, or Conscious Associations. Maybe these'll help you grok what's really going on here in honing your own system of discernment. Let's say a few pieces of the data are "stone" and "structure" and "sacred" and "prayer," and other related data. One of the first stories that will get built by a Westerner is "cathedral," or "church," maybe even "Vatican," when in reality the target is Stonehenge. And certainly a Christian, with an anti-pagan bias, will be most susceptible to make an assumption like this, the point being that one's background story and beliefs can tend to bias the data towards a more personal tapestry.

Let's say the databits are "slick" and "wet" and "wide" and "cold," and in another column "competition" and "battle" and the like. The story-builder might turn that into an ice-skating sporting event, like hockey, while in reality the target was riot police grappling with a protester in a cold, wet, icy scene in the Ukraine.

See what we mean? DO NOT BUILD THE STORY, as that is the single most effective way to disengage from higher mind. The actuality of the target scene, the true story, builds itself because it already exists as it is. There is only the need to record the data as it presents itself, and the data comes through free and easy so long as we're not cluttering it with the story our small conscious minds are in the habit of building. And we'll emphasize this with this point: 95% of all so-called "psychics" and "channelers" and the like out there are story builders, live in complete fantasy, and this system is an ideal way to expose them, because they often have a harder time believing they're wrong than the rest of us, and they will create a story faster than you can get through Phase 1 Primitive Data. If you are a psychic medium or whatever, and you are sincere, and you'd like to be exposed so you can leave your fantasies behind, we're genuinely happy to oblige in your growth into your next phase.

Here's a funny tidbit as a real-life example. Years ago in a test to prove this point, the psychic/medium/channeler types all got data that led them to say things like, "This is in a sacred cave with turquoise magical water flowing through, and orbs of light dancing below a sparkly ceiling," or "I'm in touch with an off-world intelligence, part of an Intergalactic Command," or "This is showing me that telluric grids are activating in the morphogenetic fields of the Lemurian Complex," or "This is a bridge to activate 5th dimensional DNA templates." K, well, sorry to have to burst your bubble, but the target was a lit lightbulb.

Those who weren't "psychics," just regular folk like us, got excellent data, as always. In yet another funly (is that a word?) idyllic example, a so-called psychic medium man got "gray" and "tall" and "obelisk-shaped," so he turned it into the Washington Monument, complete with the reflection in the water, national pride, power, secret societies, and so on. The target was an A-shaped folding ladder standing in front of a gray wall. He quit the training, saying the system was flawed, so heavily ego-bound was he, when in reality he was just embarrassed about being so nakedly exposed when he in fact made his living from being a psychic medium. The targets vary hugely. It could be Shangri-La, or it could be a dented garbage can in a derelict street. NEVER ASSUME.

Anyway, the reason we say all this is that "regular folk" do better with this than all but the truly gifted psychic/medium/channelers out there, and we hope this helps with your confidence.

Heed well these words, all ye burgeoning Awareness Bilocators! - "chocolate, egg yolks, water, butter, salt, baking soda," do not a German Chocolate cake make. These things only become that when YOU make them that. What we want are the ingredients, not what people are programmed to turn those ingredients into. See? All right. We'll leave it at that........for now.

Whereas before you were typing your Deductions in a field set aside for them, now obviously they are considered data, but this still only means you've made a conscious association of the data into a programmed definition. If you are distracted by your deduction, then you'll have to use the tool and clear it away. If not, the best way to handle them is to assume you're wrong, let it go on the fly and continue probing for data, OR, if you're a little more experienced at this highly advanced skill, detach so much from it that you just don't care what the conscious mind is doing with it. You just don't care whether it's you producing the data, or if it's flowing from the target scene. In the earlier phases, you were typing them, pressing the cursor into the center dot in the Conscious Associations clearing device, and breathing them away. Now, if you want, you can just type them, know they're wrong, or simply detach or remain detached, and continue. It's up to you, once again, to hone your personalized methods. But feel free to continue use of the device. It works very well.

Indeed, we recommend the use of both the clearing tool and the quiet mind tool all the way through a session, if they're needed, say maybe as many as five or six times. Don't do it just to do it, though, but when either of them is needed. We should probably touch on what you want the clearing tool to do, and which it does do if you let it and know what its precise function is. It resets your perceptual pathways to a more objective frame, meaning that it will diminish the strength of definition and re-present the target scene for the cuing of purely objective descriptive terms. It's a bit like shaking away what is on an Etch-A-Sketch screen, and then watching as the drawing rebuilds itself but with greater objective acuity.

Now we get to start describing something that is pretty powerful, and WAY fun. As you can see, the matrix indludes a Symbols category. These also need to be drawn, as they will be used in Phase 6, which can turn into a data-mining wonderland. The way to do this is given in the below example from a real session. Take a clean white sheet of paper, label it at the top the same way you have been the sketches. Here, with our same sample coordinates, is an example: 60867 1405 SY1, the SY denoting Symbols, and the 1 denoting this being your first page of them, keeping in mind you could have more than one page. Then draw the circle with the triangle in it. Press your pen tip into Position 1, as illustrated below, close your eyes and say "What goes here?" Then draw what comes through. If nothing comes, it's possible that it will in the second position, or the third and/or fourth. If nothing comes at all, again it doesn't mean anything, especially early on. Eventually, however, it's inevitable you will get symbols. Don't forget to name your scan, or pic, of your symbols drawing, like this, using again our sample coordinates: 60867-1405-SY1.jpg

The reason symbols can be powerful tools is because they can be containers of a lot of information. Sometimes a symbol can be a regular library of information. This makes the data mining in Phase 6 quite a bit more efficient, especially when your conscious mind is not in a position to assign meaning to a given symbol. Many Awareness Bilocators will get the same, or quite similar, symbols, and eventually we'll amass a library of symbols for cross-comparison, as a big part of The Superbeings is about creating and assembling a more holographic language for communication on non-conscious levels of mind.

Tip - If doing a second sheet of symbols, don't flip your sheet over and draw on the other side. Use two sheets. The reason for this is that your higher mind might go ahead and give you data from the first side. In other words, it doesn't care about the orientation of the sheet.

Phase 3 Sketch Cuing - It's also in this Phase, Phase 4, where you build upon previously recorded information, such as your Phase 3 Sketch, and the labeled features within it. Here again is the sample sketch we used in Phases 1 - 3:

As you can see, it is labeled by number with three separate features. Maybe you'd like to probe each of these features, to mine for more information to be recorded in the signal-line categories. If so, the normal sequence is to have completely probed all the signal-line categories from beginning to end of the Phase 4 Matrix, drawn your symbols, and IF you have a Phase 3 Sketch to probe, now would be the time to do it. Thus you'd be making another pass through the matrix categories the same way you did before, starting over from Visual, by probing your Phase 3 Sketch and recording what comes through in each signal-line category.

To do sketch probing, have the sketch on hand to your left. If there are labeled features, start with those. Press the cursor into a category, close your eyes, rub your fingers around on the sketched feature and make your query, such as, "What's this made of?" Remember that to get that specific can be a pitfall, because the feature might be made of nothing, and is just a dark area, which means that any data coming through makes the assumption that it is made of something. Probing the whole sketch at once can be done by spreading the hand over the top of it, pressing the cursor into the category, closing your eyes, and querying like this: "Bring through anything I've missed in this category."

Tip - Something worth mentioning is that whatever can be mined from the sketch will most likely be mined without the sketch in Phase 6, but at the same time it can be a useful tool for immersing more comprehensively at the target scene. A good way to tell whether or not you should probe a sketch is if you want to probe the sketch. If you want to, do it. If you feel neutral about it, probably don't bother. The reason we mention this is because you'll want to aim for an hour, maybe an hour fifteen, to complete a session not counting the PSS, and not doing sketch probing will save some of that time.

If you indeed did draw a Phase 3 Sketch, and didn't label it, and you decide you DO want to probe it or its features in Phase 4, you can go back to your Phase 3 Sketch and label it before beginning probing each feature as 1, 2, 3 and so on. If there are no features to be labeled separately, then obviously no feature labeling is required. But if you're going to probe your Phase 3 Sketch/es, the below illustration shows how you'd do the labeling. Please note that "red, large, wide, narrow, sandy" had been typed prior to the sketch probing, which is why the sketch labeling follows it. Also, and this is important, you'd probe 1 feature at a time, moving all the way across the matrix for each feature, but for this illustration we only show two of the columns.

Also worth mentioning is this. As you get more automatic with all of this, and you will, you might find that you intuitively know that a sketch feature to be probed doesn't necessarily apply to certain signal-line categories, in which case you can skip them. You can also come back to them, if you want, or probe in any signal-line category order you'd like to.

Tip - Phase 4 will be the only phase in which you will be probing any Phase 3 Sketches, so now's the time to do it if you want to. If Phase 4 produces visual information you transfer to sketch/es, you'll be probing that/those in Phase 6, along with any symbols drawn here in Phase 4. In this way, you can see each Phase is designed to build or expand upon the immediately previous.

Movement Exercises/Cuing - Here we get to add something a little fun to the Phase 4 structure. Let's say you have made a complete pass through the matrix, and now you'd like to see what a Movement Exercise can produce. As it was with the Sketch Cuing, you'd be starting at the very beginning, with the Visual category. You'd type the movement out in the Movement Exercises field and then begin probing the columns for any new information, making a complete pass through all the signal-line categories.

Philosophical Tidbit - In case you hadn't thought of it, it's fun to think about. Your bilocated awareness is actually there, in a completely different location somewhere in this 3D plane (or maybe NOT in this 3D plane!), even IF the scene is still only vague to your conscious and waking senses. Movements enable you to direct the bilocated awareness to move around and gain these alternate perspectives. This might help to open the dataflow back up, or even widen it if the flow is already quite good.

To do a movement, in the Movement Exercise area you'd type out the movement:

When new data starts flowing in after your other self, or awareness, moved in space at the target scene, you should probably label it the way the ME1s are shown below, which tells you for your PSS, or Post Session Summary, what produced the new data:

You can see in the above illustration how the first pass through the matrix produced all the data above "ME1-shiny," and how ME1, the first Movement Exercise, is now producing more data on the second pass through the Matrix.

Why do this labeling? It's not mandatory, but it could be handy for you to track your own learning process on what produces what, and how. It's also for your PSS. In wanting to know what produced what, and how, you also want your sessions' PSSs to be clear enough in this respect for someone else to be able to understand what you did as well. So, in your PSS, you might write something like this:

"The dataflow seemed to slow to a stop at the end of P4 Matrix, and so I did a movement exercise, "back up 200 feet and SEE," and started in again with visual information. This seemed to open up a whole new channel of info starting with quite bright contrasts of shiny, brassy and sunlight. It also brought in new information for the Structural column."

Here are some examples:

• move to the most natural position for my perspective
• back up 200 feet and SEE
• move to central object/subject and detect
• move to target and feel for materials
• move back 1000 feet and SEE

Tip - For the below illustration, please note again, for the sake of example, the Visual, Materials and Structural data columns had already been partially filled in from the first pass, and when the Movement Exercise produced additional data, the data was appropriately labeled ME1, denoting the first Movement Exercise typed out in the field below the matrix.

Also note that there is information typed in the Word/Impression/Thought Strings field, which relates to words in the Structural column. We'll get to that below. Just wanted you to notice it now.

As you can see, there is also a partial sentence in Word/Impression/Thought Strings, "ME1-solid man-made structure centered in a wide valley," which forces us to touch on that. You can also see how the Structural ME1 impressions led to this partial sentence. While working the signal-line categories we want no more than one or two word descriptors entered in the columns, but if you get a stream of words or impressions or concepts or whatever that need to be objectified, you would type those in Word/Impression/Thought Strings, appropriately labeled if it was a movement exercise that triggered it. BUT, train yourself to refrain from word strings as much as possible until Phase 6.

Important! - Also, refrain, and we mean seriously refrain, from typing complete sentences, because if you do that, you're gonna start telling a story. Take it to the bank. That's what we've been programmed to do all our lives. The Deductions portion, the portion we don't really care about at all, of a PSS is where you're allowed to do your storytelling. We keep this field around for one reason - so that you can compare what you did with second awareness' raw information.

Movement Exercises/Cuing Levels - There are three types of Movement Exercises to be used to move you around the target in time or space. Movement Exercises can be performed when the data flow seems to be slowing down, or even if you simply want to widen the aperture in the middle of an already good data flow through a change in perspective. These should never be detailed nor lengthy statements.

There are three levels of movement cuing:

Level one movement cuing is to reorient you to the target and is the most encompassing and frequently used. Examples:

• from above the target area something should be visible
• within the center of the main structure something should be visible
• move to area center and SEE

You will quickly develop a natural way of knowing that something requires a Movement Exercise for deeper information mining. In other words, you'll just plain get better at it.

Level two movement cuing is to reorient your perception in a more specific way than level one movements. Examples:

• move to the structure and describe
• move to the structure and determine if natural
• move 50 feet over target and describe

You can also move yourself around in time:

• move ahead one day and describe

This latter might be used if there seems to be a great deal of activity at the moment and you want to ascertain whether or not this is a daily thing.

Tip - We recommend you don't perform movements in time until you're comfortable with the entire session strategy all the way through to Phase 6.

Level three movement cuing is the most subtle. In essence, you are asking second awareness to supply very specific information about the target. If the target is a person, we can get information about age, sex, physical and emotional characteristics, and relationships to other individuals. If the target is an event, we may want to learn about its causes and consequences. Cues should be used creatively to explore the context of the target and its specific characteristics, keeping in mind that you could be probing for more information about only one of four or five objects and/or persons included in a given target. These will only be used when you feel very strongly they are necessary. Don't even try to use them until you've incorporated Phases 5 and 6 into your training.

Tip - You'll see at the bottom of the Phase 4 Matrix the below button. This is used to reset you to your original perspective position as a series of "movements" can become disorienting.

We'll be giving examples of Level Three Cuing in the Phase 6 training module, so just let it go for now.

You all right? You good? You wanna keep going? No shame in taking a break - take all the time you need. There's never a hurry on any of this. And remember what we said above. You can use the session document as a practice document over and over and over, never submitting your session, until you feel comfortable about the flow. But we do strongly recommend no more than once, as multiple sessions on the same target can make it so your data becomes repetitive due to memory of the last session.

But if you're ready, go start a session.