One Experimental Technique I Used as an Art Teacher

In 1958 I was teaching art in a University Experimental Education (Kindergarten through 12^th grade) School.

As an art teacher I taught my art students (3^rd grade through 12^th grade) to remotely internal view (RIV) into paintings, reproductions of paintings, and photographs, and organized still life arrangements. In paintings it is possible to see / view several different timelines simultaneously. You can see segments of the artist's vision / views and the current “now” occurrences that are adjacent to but not part of the artist's vision. In 2005, I held a Remote Viewing workshop and taaught slightly over 100 people ranging in age from 18 to 83 and all could Remote View objects internally and externally.

Symbols written or contained in crafted objects can hold the equivalent of books of information. Each creative construction by a “being,” the writings, art, sculpture, music, or design has tabs attached to the “inside dimension” of the object. When you “enter” a creation you can touch these tabs that are attached to a section of color, form, or symbol, and they will give you the reason the author selected them to represent their thought, explanation detailing the artist's decision-making process. The students quickly applied this skill to their textbooks, sheet music, and to assigned readings to gain further meaning. This technique is very easy to learn and most people can master it easily within a half-hour. Using telepathy I led each class of 15 to 18 students to standard external Remote View and Remote Internal Viewing practice in plus or minus 20 to 30 minutes.

When the spherical minds are presented with a problem they function as a cooperative to consider all possible solutions to this psychical mind-brain team. They assist each other in developing different possible solutions.

I've had the students who used this technique to solve the whole problem of a organizing a drawing or painting for its rendering.

After viewing the blank canvas for a minute or so, one student would start in the upper left corner and paint as if he was peeling a cover off of the painting, another student after contemplation rendered the whole painting in scattered parts one color at a time, a dab here and a dab there until the painting was completed. Their focus was so intense that they, as the artist, became the art as they worked.

Roger Armstrong, MA, MS, MFA, CHT

(Professor Retired, and former Secretary of NAEA.)

email: rarm3@97520.net

phone: 541-552-1021

Understanding Pollock's Perception of Art

Using Remote Interior Viewing

[In response to an article in New Scientist Magazine, Dec. 2016.]

The technique to view Pollock's art is to stand about 10 feet from the chosen painting by Pollock and focusing intently on its center slowly walk up to it. About 5 feet from the painting a spot in its center will form. At two feet the spot will open and let you mentally / visually enter it. Attached to colors, shapes and form are small “tags” that are attached to all of the elements of the painting. Touch a “tab” and it will tell you why the artist chose it to be what and why that placement was necessary to the painting.

With this information you can understand the full intensity of Pollock's vision and the extreme deliberateness of placing the small streams of color in a very skilled, deliberate application of paint.

This technique of viewing the inside structure of a painting is a form of Remote Viewing (RV), called remote Interior Viewing (RIV). Remote viewing is the viewing skill that is used by many government spy (intelligence) agencies.

I used this skilled technique as an art tool teaching the 200 art students (ages 10 to 13) to understand and develop the perceptual concepts inherent in all created objects. To go to a museum field trip was a favorite art class activity. We developed a 13-point questionnaire to record our individual interior viewings that were the basis for recall and discussion.

Sincerely.

Roger Armstrong

P.S.

A side point of interest was the view / perception of the artist that usually involved perceptions from different specific timelines that were blended into one creative work of art. Having 10-year-old art students develop a concept of the structure of “time” based on their experience of segmenting it for actual viewing was an exciting treat for me. Another offshoot of that internal viewing was that the students were able to enter a creative work quickly and with an intense focus. Hand-held musical scores and text books interiors enabled a dialogue of the intentions with their authors.