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