1.

First Decisions. Decide who will be the viewer (the person who actually does the remote viewing) and who will be the sender (the person who "transmits" the information to the viewer).

2.

Create the Targets. Have a third, person who will not be involved in the remote viewing experiment, select 1 to !" possible targets # the places the viewer will be remote viewing. $he targets must be actual places, preferably within driving distance. $his third person should write down details about each target on an index card. %nformation should include &ey features of the site' landmar&s, geographic features, structures and directions. $he more strong details, the better.

3. 4. 5.

Secure the Targets. $he third person should place each target card in its own unmar&ed opa(ue envelope. )eal all envelopes. Choose the Target. Have a fourth person randomly select one of the target envelopes and give it to the viewer. Plan a Time. Decide on a span of time that the actual experiment will begin and end. *or example, let+s say you choose to begin at 1" a.m. and end at 11 a.m. *rom this point, the sender and viewer should have no contact until the experiment is over.

6.

Open the Envelope. %n a place separate from the viewer, the sender should open the envelope and for the first time find out what the target location is. $he sender should then go to that location, planning to be there by the start time (in this case, 1" a.m.).

7.

Viewer Preparation. ,efore the start time, the viewer should prepare by being in a (uiet, comfortable location with as few distractions as possible. Dress comfortably, disconnect the phone or turn off the cell phone and go to the bathroom to avoid any possible interruptions. -et as relaxed as possible. try some breathing exercises.

8.

Start Sending. /t the agreed time, the sender is at the target location. $he sender should loo& around and begin transmitting by thought detailed impressions of the location. $he impressions should include specific colors, strong shapes, structures # even smells.

9.

Start Viewing. /t the agreed time, the viewer should be totally relaxed and be sitting comfortably with paper and pencil or pen. 0rite down the impressions that come across. Draw the shapes seen. note color and smell impressions.

10.

Notes. ,efore the experiment is over, the sender should also 1ot down notes about the specifics of the target location. 2erhaps even photos or video can be ta&en.

11. 12.

Ending the Experiment. /t the end of the agreed time, the viewer should sign and date all notes and drawings made. $hese are then given to another person. The udge. /fter the experiment is done, the viewer+s notes and the sender+s notes (and photos, if any) should be handed over to an impartial person (who thusfar has had no connection with the experiment) who will act as a 1udge. $he 1udge will compare the notes of the sender and the viewer to determine how successful the remote viewing experiment was.

13.

The Verdict. *inally, all persons can gather to hear the 1udge+s opinion, view all of the materials and find out the number or percentage of remote viewing hits.

14.

Plan !nother Experiment. 0hether the results are satisfactory or disappointing, plan to try again. 2sychic experiments ta&e time and practice. Don+t give up.

15.

Share "our Successes. %f you+ve conducted a successful remote viewing experiment, let me &now about it. )end me the details for possible sharing with readers on this website. Tips#

1.

0hen the third party selects the target sites, it will be helpful to choose spots that have strong, bold and uni(ue visual features. $his will help ma&e the transmission and reception of the target easier and more specific. !. /t no time before or during the experiment should the viewer see or spea& with the people who choose the targets and create the cards and envelopes. $his prevents the accidental lea&age of any information about the targets to the viewer beforehand.

3.

0hen the viewer is writing down and drawing impressions, don+t try to interpret, analy3e or second#guess them. 4ecord your first impressions without censorship or 1udgement. 5ust let it happen. 6. *or some viewers, it+s preferable to 1ust sit and relax while impressions are received. )ay what is "seen" and have someone else write down what is said. 7onsider recording it on audio or videotape. ($his recording person should be absolutely silent during the recording.) . 8eep trying. 9nli&e a chemistry experiment in which you mix two chemicals and always get the same result, a psychic experiment li&e remote viewing is not always sure#fire. 4esults will vary with the people involved, the time and place, and other circumstances. ,ut &eep experimenting. :ou may find that your percentage of "hits" will improve over time. $hat "ou Need#

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P%!CT+CE Ci&e a difficult sport or musical instrument, =)2 ability re(uires diligent practice. 9nli&e sports or music, however, your progress can be hard to measure because of the elusive nature of psychic phenomena (it+s difficult to &now how or when it+s going to wor&). )o the frustration level can be high, but the &ey to success is to not give up. (:ou should &now going in, too, that there are no guarantees of success when it comes to trying to develop =)2. yet if you don+t try, you+re guaranteed not to get anywhere.) ")et aside some time to practice. 7alm the mind, play gentle, soothing music and try to relax, recommends 4ussel )teward. "/llow your thoughts to wander. )ometimes it helps to picture a summer scene, a field or meadow with the sun shining. %t+s all about getting used to information coming to you from a different source. $he more you practice, the easier it becomes. $ry pausing before you do something. *or example, when the phone rings, pause a few seconds before answering. 7an you tell who it isD $ry it when someone &noc&s at your front door. $ry it at wor&. 7an you tell when someone is happy, sad or preoccupiedD" )uch exercises re(uire concentration, an ability you need to develop in and of itself. ":ou need to have an incredible amount of concentration," says 5oe 7epeda in his article, "How Do :ou %mprove :our =)2 /bilityD" "$he type of concentration that calls for you to ignore

the crowd at a football stadium in the middle of a touchdown, and be able to clearly recall a passage on a boo&, a face of a friend or a situation. $houghts are flowing out there at an incredible rate. =very nanosecond there are thousands, or millions of thoughts flowing bac& and forth. =ach individual is sending and receiving thoughts from outside of his mind. %magine that all the radio stations are broadcast at the same time into one single fre(uency on your radio receiver and you will get an idea of what is going in your mind at any point in time. ;ow imagine that you are able to focus your tuner to receive 1ust one radio broadcast." Don+t let frustration or failures ma&e you stop. ,e realistic. :ou can+t expect to practice for a few days, then be able to predict when 9ncle Couie is going to call or who+s going to win the )uper ,owl. 2sychic abilities, even for those who have developed them to a high degree, can be unpredictable and erratic. $he tric& is to learn to recogni3e when your =)2 is wor&ing... and that comes with experience. SO*E E,E%C+SES Here are some practical =)2 exercises from various sources'

Scanning # "$wo people # preferably two who haven+t met before # stand about 6 # E feet apart from each other, facing each other, eyes closed. =ach person then closes their eyes, ta&es a moment to breathe, relax and ground, then visuali3es the other as a ball of light or pure energy. =ach loo&s with their inner eyes into the ball of light and scans the person opposite top to bottom, bottom to top, noticing any words, images, colors, thoughts, sensations in their own body,... anything at all that comes up while they+re scanning... /fter a few moment, when they each come bac&, they tell each other what they saw, felt, whatever, and describe how what the other experienced might fit in their lives at this time." # $he Cight ,all =xercise Predicting # "0rite three predictions for the next day. 7lose your eyes, breathe deeply, be sure you+re comfortable and feet are firmly planted on the floor. /fter a few deep breaths, pro1ect yourself into the next day. )ee yourself following through on your plans for tomorrow. Coo& around you. ;otice any colors or sensations. 0ho is with youD 0hat are they wearingD 0hat are they doingD 0hat are you doingD %f nothing seems to come, then listen. /ny wordsD /ny song lines start running through your headD How does your body feelD Do you smell anythingD 0hat subtle changes do you noticeD %s your mood changingD ;ote everything you sense. 0rite your +predictions+ based on the information you received." # )ensing and %nterpreting Online Tests # 0or& with the many =)2 tests that can be found online. 0or& in a (uiet room without distractions. $ry different tests and wor& with them repeatedly. $ry them at different times of the day. /re you more successful at certain times of the day than othersD -O$ DO "O. /NO$ +F +T0S $O%/+N12 /fter your days, wee&s and months of meditation, practice and experimentation, how will you &now if your psychic powers are improvingD ",y experience," says 4ussel )teward. ")tore the episodes in your memory. /ll those things you &new that came true, all the things you could tell other people about themselves, each and every episode fuels your proof." ,etter yet, &eep a 1ournal of your experiences. 0rite down the results of your online tests and exercises. $he physical act of writing it all on paper will help reinforce the conscious# unconscious connection. ,ut how do you &now if your "hits" are still 1ust coincidenceD /n increasing success rate will determine that. "/t some point," continues )teward, "chance and coincidence are mathematically no longer a factor. :ou search your feelings, you begin to trust yourself.

$he mysteries of the universe lay before you, no longer mysterious, but li&e a giant unread boo&."

$H= D=<=C>2?=;$ >* etheric vision is warranted in many cases. -host hunters or those who feel they may have some mediumistic talents may feel inclined to develop their visual reference framewor&s. ?assage therapists and other bodywor&ers may feel a desire to ta&e their wor& to another level, either to augment current practices or develop new ones. >r you may 1ust have a curiosity in such talents. $here are many theories, terminologies, names, methodologies associated with etheric vision. % donFt necessarily promote or subscribe to any of them, and % will be using terminologies found in different schemas to describe the experiences and phenomena. *or example, although % may use the term aura, % am not suggesting anything about the standard aura mythos commonly found in ;ew /ge writings. % am also not promoting a belief system G % encourage anyone interested in this area to read widely, experiment, and come to their own conclusions, ideas, and applications. $he idea of etheric vision and its development has come to me gradually and naturally after many years of full#time bodywor&, and % am convinced that communing with invisible fields and energies are a natural byproduct of intense interpersonal focus within the healing arts and similar endeavors. $hat some people can view the body and immediately and correctly see problem areas without being able to necessarily articulate Hwhy,I or see colors and moving fields may be a matter of experience rather than anything magical, special, or spiritual. %f % (and many, many others, both anciently and modernly) am correct, and these etheric fields really are somewhat ob1ectively present, then it naturally follows that people involved in wor&ing with them (my assumption here being that healing somehow involves these fields) may over time ac(uire the ability to wor& with and see the fields even without attempting such. $his has been my personal experience, and accepting the naturally occurring visual phenomena and subtle promptings therein has deepened my practice. ,ecause of this, % have been prompted to develop this talent, and in the process, % have found many techni(ues and exercises that can enhance etheric vision. ,elow are some of these easy techni(ues. 3. 1!T-E%+N1 !$!%ENESS !ND 1%O.ND+N1 $his is the simplest of techni(ues, and is warranted preceding any type of focused effort, or 1ust an exercise in itself. )imply mentally gather or call all your awareness from wherever it may be focused (hearing the traffic outside, going over a conversation you had days ago, thin&ing about what to ma&e for dinner) and bring it behind your eyes. /ctually go through the motions mentally of physically gathering all aspects of yourself and your awareness together G visuali3e this as an interactive movie or picture. /nd@or you can even physically use your hands to call all your awareness together G it may loo& weird, but grab all the pieces in your hands, and cup your hands over your eyes, directing the awareness through your eyelids, through your physical eyes, and release it behind your eyes. >nce your awareness is behind your eyes, loo& out from behind the bac& of your eyes. ;ot only is this a great precursor to any type of etheric vision developing or

meditative practice, it does wonders when you are 1ust feeling out of sorts, mildly depressed, or Hnot yourself.I $o ta&e this therapeutic effect a step further, envision a vine or flower tied to your an&les and send down its stem through the floor, through the dirt, and affixing itself strongly and securely to the center of the =arth. 4. &OO/+N1 T-%O.1- T-E E"E&+DS $his techni(ue ta&es a bit of focused practice to Hget it.I *or this exercise, bring your awareness to loo&ing out of each of your eyes in turn, while both remain open. ?ost of us favor one eye or the other, so this can be somewhat of a frustrating exercise. 0ith both eyes open, simply focus on an ob1ect or point out of your left eye for a few seconds, then focus on the same ob1ect with your right eye for a few seconds. $hereFs really no tric& to this G you donFt need to s(uint or anything G you should be able to switch the dominant viewing after a while from one eye to another. >nce you have mastered switching the dominant eye, pic& a plain, simple ob1ect (a crystal, your other hand, a lit candle, etc.) to use as a meditative device. $his ob1ect should be about a foot away from your eye, at eye level. 7lose one eye and cover it with your palm. ;ow, loo& at the meditation ob1ect using your closed eye as dominant. $his ta&es some practice because it is obviously very counterintuitive, and it is a subtle effect. ,ut you will &now when you have mastered it. $here is a sense of seeing the ob1ect in a very elusive and non#ordinary way. :ou will have the strange sensation of seeing through your closed eye. >nce this feeling is attained, try to &eep your focus in this vision as long as possible. /fter much practice, and with a sustained attention, visual phenomena such as the auric field may be seen. %t may help to position the ob1ect so that it is more in line with the eye that is covered. ,e sure to practice this techni(ue with both eyes in every session. Next page# 2eripheral vision and more

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7. P%!CT+C+N1 PE%+P-E%!& V+S+ON $his may be the most effective, easy techni(ue in development of the etheric sight. %t is said that the dynamics involved in peripheral vision are the same involved in etheric vision. $his may have to do with using rods vs. cones (components of your eyeFs retina). /fter much practice in developing peripheral vision, you can specifically engage dynamics learned within to facilitate etheric vision. $he methods may vary, and will be apparent. $he techni(ue is easy and can be varied in any way that is convenient or challenging. $o begin, choose an ob1ect or spot directly in front of you for a reference point. ,ring your arms straight out to your sides (so your body would form a L$F shape), and begin wiggling your fingers. 8eep your vision focused on the chosen reference area in front of you, but direct your attention to finding your fingers. )lowly bring your arms in toward the middle (still outstretched and with wiggling fingers) until you can see both hands.

Some ideas and variations 9se a candle flame for your focal ob1ect. 2ractice &eeping your awareness on your wiggling fingers, while maintaining a fixed ga3e on the flame. $ry to incorporate the two dynamics, this division of averted awareness and focal point. ;otice how the candle flame moves and changes, ta&e in the movements and HfeelingI without interpretation. H;oticeI the flame with pure awareness. /fter you get the hang of attuning your peripheral vision, you can use this exercise as a meditation tool, without having to outstretch your arms. )imply engage your peripheral vision. Have a friend stand in your peripheral vision and hold up different ob1ects or fingers. )ee if you can discern the ob1ects or the number of fingers. Developing s&ills in peripheral vision doesnFt ta&e very much time, and even within one session you may be able to see improvement. 8. C&OSED E"ES9 OPEN E"ES $his techni(ue involves simply closing your eyes and noticing the patterns of light and other phenomena. $hereFs a lot going on there. 0e tend to filter these phenomena out. % donFt mean to imply there is necessarily anything mystical or extraordinary in this. rather, % advocate 1ust incorporating awareness to it. /llowing the fullest spectrum of visual phenomena into our awareness brings a clearer picture of reality, which is all about perception and interpretation anyway. Cying on a couch or bed with closed eyes, try to stay clear of day dreaming or straying attention, and &eep a focus on observation. )ee the lights, shapes, and colors in the same way you would view a painting in a museum, loo& out of an airplane window, or view a movie screen in a theatre. /lternately, open your eyes, loo& at the ceiling, and notice any of these same phenomena are still present. 9se the ceiling as a bac&drop G loo& in front of it. /lthough within this techni(ue, and some of the others, visual phenomena may be induced in itself, these are meant to train the eyes, brain, and everyday cultural filtering mechanisms to see a bit differently, and thereby incorporate etheric vision into a general framewor&, enhancing and complimenting any given endeavors. Richelle Hawks is an author at Associated Content. Her blog is beamshi s e!ual love" and she is a regular contributor to 9*> Digest and has an u coming weekl# column at $innall of America. Prev

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