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Time to cut you loose, to let you go more or less free-form, but still within structural guidelines. This is what makes Phase 6 a data-mining wonderland, and because you've proceeded through a rigid structure to control the dataflow volume, which is nearly equal to saying your conscious immersion at the scene, you've learned a little about how to discern between YOUR stuff, and the REAL stuff, while faithfully recording BOTH. Obviously, as you've done all along in the training, you've been keeping your post-reveal notes, and in doing so marking out how you yourself connected the dots to trace back to YOUR stuff. This remains as self-taught mini-epiphanies and will hone your discernment more and more as you practice the system more.

By the time you get to Phase 6 you should be pretty deeply immersed at the target scene, especially after repetitive practice. It might not feel like it – it truly might be this effortless for you, just sort of mindlessly recording data, but you'll get solid impressions that may just convince you of your Conscious Associations. Yet by the end of a full session, whether you're convinced of them or not is truly of no consequence, because no matter what you're still just collecting and summarizing data. By this Phase and with practice, however, you have very likely reached a point where those are not a hindrance, and may be even helpful.

How? Well, let's say that you have been unable to get rid of the strong impression of a cathedral throughout the session, and you have spent some time during the session trying to reset your perceptual frame to exclude that definition, or at least to de-emphasize it. By the end of Phase 6, maybe you just decide to GO for it and in so doing stop censoring yourself, and then suddenly the dataflow just becomes a deluge and much more information comes through. You go ahead and record and, in the PSS, summarize it, and that's it. And at the reveal, you find out it was Stonehenge. That's perfectly all right. It doesn't matter. So much of the data applying to a cathedral ALSO applies to Stonehenge, and it's possible much of that came through because you decided to let all info through about a cathedral. The key, as always, is total detachment.

We'll never not emphasize this point. A good way to get the data to continue to flow without hindrance by Conscious Associations is to not care about the information, which will keep you from hopping on to that deductive thread and skipping your way along the Yellow Brick Road into story-land. That way the information continues to flow unabated, and includes, or more likely encompasses, info relating to whatever the Conscious Association might be, but is not limited to whatever the Conscious Association might be. Does that make sense? If not, it's very important that it does. So put another way, at the target scene your Conscious Association might be a statue and fountain in an Italian Piazza, all marble and wet and lovely and pleasant and beautiful in and of itself, but the whole target scene, where you have gone to a "higher position" to take more of it in, might include a soccer mob lobbing flaming bottles at riot police, which itself represents a far larger volume of data and one completely removed from the pleasant urban feel of a classic Italian fountain. However, both data types are there, contradict each other, and yet are both true.

Here again, we're using a matrix which utilizes more general categories, and there are some cool twists to this that enable you to play with things a bit.

It's here in Phase 6 where you probe first your Phase 4 Symbols, and then optionally your Phase 4 sketches, Conscious Associations, and/or your Themes and/or Types, and whatever else you sense requires probing. This is your call. Everything just named could produce so much information you could be at it for hours, literally. And here's where some subtlety comes in. We like to recommend that sessions exceed no more than about 1.5 hours, including the writing of the PSS, even though the session is essentially finished prior to the PSS. The shorter the better, but not at the expense of un-expressed data. The fact of the matter is you might be so enthralled with the target scene, and having so much fun with it, that you want to go on and on. We're not going to tell you to not do that, but we will point out that if a session becomes work, drudgery, and you're just tired of it, it's time to end it.

Tip - For perspective, when you have gone through an entire session, at least an hour, you will have been in an open, clear and receptive meditative state through that entire time. Try doing it without this system. It's incredibly difficult. This is why this is our MAIN Mastery practice, and this is why we continue to use the ABS as our method of bilocation.

More of the subtlety here, therefore, goes like this. Let's say you left off probing your Phase 3 Sketch in Phase 4, because you had a hunch Phase 6 was going to produce what the sketch would otherwise have produced in Phase 4. We're not losing sight of the fact that it's still necessary to objectify visual information through sketching. Neither are we losing sight of the fact that doing the sketching helps in immersing you deeper into the target scene. We're just saying there might always be a more economical approach to data mining that ensures quality over quantity, as an example. While we therefore recommend that you try every tool, and probing source, available here, by the time you've gained some experience with full sessions it's possible you will be probing only your symbols, which is the only mandatory probing source, and your final Themes and/or Types.

Tip - Please note: probing Conscious Associations could be a problem for your first four or five full sessions, so maybe put off probing them for now. You could easily be led down a fanciful pathway, and not even Phase 6 wants you devolving back into story-land.

As you have seen in the Phase 4 Session Form, there is a link to a flowchart, which serves as a reminder of what you will, and then can, probe. The Phase 6 Session Form also has that. So after you've done a Phase 5 Off-Load, if in fact you've done that, it's time to organize what you plan to probe for Phase 6. This organization could be incorporated into your short break, as an example. Maybe you click on the Phase 6 Flowchart to help you remember what you'd be organizing. You'll want to get your symbols sketches and, if you plan to probe them, your Phase 4 Sketches, ready to go, but DON'T STACK THEM. You'll want to probe them one at a time, and in the correct order. In other words, second awareness could easily "see" the entire stack all at once, thus confusing the flow.

The best probing method is shown here. This is the Suprasensor's left hand on top of a symbols sketch, the palm chakra almost directly over the center, the fingers supporting the palm.

Here are the steps:

1. Take a huge deep wonderful breath or two and then check your immersion level. Find that sweet sweet spot.
2. Position your hand on the symbols sketch.
3. Press the cursor into the first column, Things.
4. Say aloud, "go omniview."
5. Start listening with your whole being.

Let's explain the omniview command. Picture it like this. Your second awareness "self" at the target scene throughout the session represents a single perceptual position, mainly because of the way the entire structuring has worked to this point. When you command "go omniview" you are dividing this single unit of consciousness into multiple perceptual positions simultaneously, which might mean that you suddenly have a whole new class of data coming in, and in fact you will on complex targets. It's like the difference between having a target pic be a merry-go-round and suddenly you're perceiving the entire carnival despite the fact that it's not included in the target pic.

After saying "go omniview," your query should be something like this: "show me all things at this target scene." Let's say you get a few impressions and you record them. Then your query might be something like this: "what other things are at this target scene?"

You'd continue with your queries through the four categories, ending with Telepathic Communication, keeping in mind that all categories could flood in at once, in which case you'd just type everything in the category it belongs. We'll explain the Wild Card column in a bit. If you have a second sheet of symbols, you'd then probe them in the same way, proceeding through the columns.

It's important to make a mental note right now that there is a direct correlation between going omniview and probing the whole set of symbols all at once like this, instead of probing each symbol one at a time. The symbols are there as singular depictions of much broader scopes of data pieces and arrays. Omniview essentially means to probe in multiplicity mode both the scene and the symbols. But here it is...if it's your way of doing things, feel free to probe each symbol, one at a time, while proceeding through each column for each symbol. This will considerably lengthen your session, but so long as it stays fun and intriguing and creative, you could turn a session into a rich and deeply immersive bilocated experience by your continued creative latitude with this fantastic tool.

If you decide to probe them one at a time, you'd simply narrow the "footprint" of your fingers to center the palm chakra over the top of the symbol to be probed.

Now logic would dictate that you'd then start into your Phase 4 Sketches, but there is something very important to understand here. Phase 6 is YOUR TOOL. The more you do this, the more you'll understand how to use it. So let's give an example. Let's say that your session has produced "slick, shiny, white, glassy," and because of those terms, you let "ice, snow, cold," and so on, into your session. Let's say you have also perceived "festive, crowded, happy, tradition," stuff like that, and through those data samples your strong impression is, through logical deduction, "ice carnival."

So at this point you can break free of structure and resolve to eliminate some possibilities. Remember, you're more immersed in the target scene than ever, and so it's going to be quite difficult to force yourself into choosing what is not true. So what you might then do is scroll back up to Primitive Data and, if you hadn't chosen cold anywhere, see if it can be included now, or changed. You could then also hop down to Phase 2 and probe the Temperatures field. If "warm" comes through, and you just can't even force yourself to also include "cold," that might be ruling in that "slick, shiny, white, glassy" all apply to something that is NOT ice. Make sense?

Learning to trust your impressions is gigantic in all this. We'll go right out on a limb and say this definitively: if by deep into a session at Phase 6 the target scene is warm, period, you're not going to be able to make yourself select "cold" just to force it to fit with your deduction. Trust that. It's important.

Maybe that feels better to you, having eliminated ice, and so now you turn your probing strategy towards other things "slick, shiny, white, glassy" could be.

Another possibility is that you've gone ahead with your Themes and Types, and then used a few "on-the-fly" techniques for elimination. In either case, you can type your Themes and/or Types into the Wild Card column, all in capital letters, thus creating your own column heading. You'd then press the cursor into the column below your typed term and query at will, such as, "What else do I need to know?" You can then type your impressions in the matching column for the databit coming in, or you can type it right there in the Wild Card Column below your own heading. Either way works great for assembling your PSS, but perhaps you'd still like to categorize as the data comes in.

Ooooops! And now you've arrived at a solid deduction, because if you're somewhere with that data, and which includes a giant statue of Jesus (from an actual session, by the way), you might just be viewing the Mardi Gras in Rio de Janeiro. But, as you already know, it won't help you to be satisfied that that is correct. The data typed in the column is, after all, still just data whether your Deduction is correct or not. There will always be more data at a target than you have recorded, and so that is still Job One, again so long as it's still fun, creative and intriguing.

There are many uses for the Wild Card Column, which ultimately is there to challenge your creativity. There is no limit here to what you can do with it. You would type whatever category heading you like in capital letters, and type everything that comes through beneath that word. You can do multiple words, so that it might look something like this:

With all that in mind, our recommended probing order would be, and this is included in the Phase 6 Flowchart readily available in your Phase 1 - 6 Full Session Form:

1. Phase 4 Symbols - this isn't optional
2. Themes and Types - this isn't optional
3. Self-tasked elimination techniques - optional
4. Phase 4 Sketches - optional
5. Phase 6 Sketches - optional and could be done after Movement Exercises (more on this below)
6. Movement Exercises - optional

This brings us to Movement Exercises, which you actually can have done at any time you felt like after probing your Phase 4 Symbols. But first we're going to explain a bit of the philosophy of this entire process as a whole technique - a full session - which is broken down into what you might call sub-techniques, like a Movement Exercise. We already know what the first four/five phases have done, and you now have a notion that Phase 6 is designed to open the aperture wide and let the information pour in. Going omniview can truly amp that up. Now you have what could be a mountain of data, some of which exceeds the parameters of the target scene as depicted in the target photograph. Now we can use the tools to emphasize certain data, which is to narrow the focus of the whole scene back down to what the actual target subject or object is or represents.

This is done through the selection of Themes and Types and then, if you're moved to, using self-tasked "on-the-fly" elimination techniques, using elements of the entire Phases 1 - 6 Session Form to do so, as discussed above when going back up to Phase 2 Temperatures to re-check that environmental informational piece.

The other way is to do a Movement Exercise, and a good one at this point is this:

• narrow focus to the primary subject of this target scene

and then probe the columns, and then follow that with:

• narrow focus to the secondary subject of this target scene

and then probe the columns. Obviously you can continue with this basically forever, if you want, because you could actually get an impression so strong just from a feature of the target scene that it could actually generate an entirely new full session and become a self-tasked target that you yourself do. The more you practice, the better you get at discerning what to probe and how to probe it, eliminate it, narrow it, whatever. You'll also get an increasingly acute sense of when a session is done and there's just nothing more that needs to be known about the target scene. Obviously, all other movement types are available to you, and there are other cuing methods for Adept level Suprasensors we don't need to go into here.

Also, because there will be some visual impressions, possibly a whole bunch of them, that calls for Phase 6 Sketches, or drawings of symbols and/or other shapes, have some clean white sheets of paper ready to go for those. Because we have brought this up, we must also touch on the fact that if you do Phase 6 Sketches, the time to probe those is at the end of the sequence given above, or before any Movement Exercises. 

Tip - We acknowledge this might be redundant, but don't forget to label your Movement Exercise-produced data in the columns!

Tip - Your Movement Exercises carry over from Phase 4. So if you had two MEs in Phase 4, your first in Phase 6 would be ME3. Make sense?

About labeling. For your PSS it might be that you want to know which probing sources provided which information. If you do want to know that, you'll want to label those as well. It's not mandatory, mainly because the info flow could be so impressive you don't even want to stop to think about it. But if you're going to do it, you can use this as a guideline:

• p4sy1 = Phase 4 Symbols 1
• p4sys1 = Phase 4 Symbols 1, 1st Symbol (if you probe them one at a time)
• p4sy2s5 = Phase 4 Symbols 2, 5th Symbol (which would be your second page of symbols)
• p4sk1 = Phase 4 Sketch 1
• p4sk1f1 = Phase 4 Sketch 1 Feature 1
• p6sk1 = Phase 6 Sketch 1
• th1 = Theme 1
• ty1 = Type 1

If you have a better system for this labeling, use it. All we're interested in this advanced into the training is your PSS, and you'd be writing your PSS to include a sentence pointing out that a piece of data came through by probing, for example, Phase 4 Sketch 1: "On an earlier movement to the primary subject it was apparent my perception was positioned near something tall, solid and dark. I sketched that and probed the sketch, and words like solid, heavy, stone, all came through from that probing."

The point being is that without your own labeling, you might not know which probing produced the new data: solid, heavy and stone.

Communication With On-Scene Intelligences - Know this first. You are working partially on and from within the quantum domain, or what might be termed "astral planes" by some, and so you might be rubbing elbows with discarnate intelligences, which is an ABS Session term for what are commonly called "spirits." Don't be surprised if you get impressions of surprise that you are there, and this surprise can come even from people in bodies who have the ability to see you. We'll give an example. In group sessions all doing the same target we have had individuals who "saw" each other at the target scene, in one case each of them seeing the other's face in the form of a floating bubble.

If your target is in a place that didn't follow Western Culture into the destruction of these higher perceptual abilities, like, say, a tribe in Africa, there could be many people aware of you at the target scene. Obviously, there is also "spirit life" that will be aware of you, but what you will find is that they are less interested than those in bodies, as they are accustomed to going about their business in a world of "people" without 3D bodies. We bring all this up to parlay into the next discussion.

Telepathic Communication - This is the column that could become utterly amazing for you, as some of what comes through might actually be hugely insightful advice on something you can do for your own growth. For the first few full sessions, it might be best to leave this column alone until you're about finished in a session. That way, you can at least rely on the fact that you will never have been more immersed in the target scene than you are now, and therefore any telepathic communications might be considered more reliable.

If you actually get telepathic signals, they will probably automatically translate into pretty strong imagery, such as symbols, or even to language, in which case you'd be writing out what might become full sentences. If the number of "messages" exceeds the number of Word/Impression/Thought Strings, then use the Notes Field for those, of course appropriately labeled something like: TC-who are you? = Telepathic Communication-who are you? which is something or somebody at or near the target scene actually asking you that question.

Tip - For those of you who might feel the need to evoke some sort of protection, you might consider doing that as a pre-session preparation step. Although we have set that up with all these session forms for you, we want your comfort to be complete. So do what you want to do. 

By now it's probably fairly plain to you, as mentioned above, that you could go on and on, with all output triggering additional output. The way you can ascertain whether a session is finished or not is a couple of different ways. The first is that you're sick of doing it, or tired, or the session's lost its luster. The second is when output starts to be repetitive, and by repetitive we mean more than you've already seen, but you'll KNOW when it's the same data over and over. Thirdly, as you go along, maybe making a little sketch or something, you might think briefly to yourself, I'd better probe that later. When you run out of stuff to probe, when you look everything over and none of it strikes you as needing additional probing, and it's all become obviously repetitive, you're probably done. But here again, believe it or not, you'll KNOW, if not at the beginning of your trip into full sessions, you will learn that discernment at some point.

Phase 6 Movement Exercises

For reference, we'll bring from the Phase 4 Instruction the levels.

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

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

• move to the primary structure and describe
• move to the primary 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.

Level three movement cuing is the most subtle. In essence, you are asking the supraconscious 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 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.

For examples, let's assume that you've moved forward to near touching with what you have thus far sensed is a life-form.

• move closer to this life-form
• is it human?
• is it male?

Clearly, with movements such as these, you wouldn't even be probing the columns, but you can if you want. Here you are trying to answer a yes/no question, and in doing this there could be pitfalls. The first you already know about, and that's that when asking a yes/no question, you will probably always get the answer you're wanting, and once you get a yes answer to something you could lead yourself off track into a story-building party that ends up as a script for Pixar. This, as always, sets you up for perceiving failure, and it's never a good thing to establish a track-record of failure even if you believe that you're staying completely detached.

But if you do decide to play with this, to wander into this particular mine-field, the way to do it is type the question in the ME field, press your cursor into that field, close your eyes and then aloud ask your question, as always listening with all of your empty being. The answer will be a feeling, and it's not worth trusting anything but that. No matter what answer you get, before you lead yourself in some direction based upon it, figure out other ways to verify or eliminate before you do. In the end, in the PSS, you can discuss the movements that are questions, like so: "I did a series of movements to more solidly ascertain whether or not this sentient presence was a male human, and in both cases the answer was yes. But because I'm not completely sold on that, I didn't sense there was any reason to try to get anything more."

We'll warn again, and we're sure you half-expected this, that in your early full sessions you might be reaching as hard as you can to be "right" about the target, to nail it...well, because that's what we've been taught to do since pre-school. And if that's the case, don't even bother, but if you've learned your lessons well and are doing it for the sake of the data, to get more data (because, damnit, we need more DATA!), then GO for it.

Movement Exercises In Time

We mentioned in the Phase 4 Instructions that you can do movements in time. In early sessions this can be risky, and by risky what we mean is that it can become very disorienting, and then when an otherwise marvelous session goes completely off-track, some bilocators can become disappointed. This disappointment can become something of a psychological complex. However, if in the early full sessions you're doing it for the sake of play, and good data results anyway, then that's the attitude to take into it early on. As a recommendation, though, we'd say don't try it until you KNOW you're ready for one.

• go back in time to this structure's heyday
• go back in time 1000 years
• move to the following day

This last one would be used, for instance, if your target were an event. If an event, then the following day's data might show you an empty auditorium, or stadium, or whatever.

If you were to go back in time, you would probably be setting yourself up for an almost completely new and separate session, and these are possible when you become good enough at this that you yourself want to self-target a session to do this. This self-targeting can also come into play if there are components in a given target scene that you feel deserve their own sessions. If when you feel adept enough with this system to do self-targeting, let us know and we'll evaluate your readiness.

However, in the early full phases, going back in time would probably warrant only a full pass through the Phase 6 Matrix, and not a completely new and different self-targeted session.

Well, that's it for now. There's more, but this is not the time to go into it.

You're in for a treat.