Technical Remote Viewing As Art
by Dennis Arbour
To those unfamiliar with Technical Remote Viewing, it would seem an impossible thing to see a path that would lead an individual to fulfillment of their dearest hopes and success in this world. But those who have practiced and continually applied Optimum Trajectories on a regular basis have realized the immense power and accuracy of this skill as a tool that has no equal. Last year I chose to begin exercising Optimum Trajectories to recognize the actual direction or activity that I was best at, most capable of, and happiest with, as a professional and as an individual. In our protocol and understanding of the structure of TRV, we are always reminded to "assume nothing" as a safeguard when we enter into a session, so that we do not simply "write a fantasy" based on what we think or wish our Optimum Trajectory is. We are trained to eliminate all extraneous thinking, and download pure and raw data from the Matrix, nothing short of the absolute truth that can be corroborated by other TRVers.
Over a long term, groups of TRV students re-enforce the idea with corroborated data, verifying a certain direction in life, an Optimum Trajectory, which gives us a clear-cut recognition of what must be done and what is expected to occur as we put our efforts in that direction. Optimum Trajectories are not without efforts; they challenge the individual to grow, and are thoroughly peppered with "markers" drawn from the sessions that will be readily experienced in one's life, much to one's amazement: Real actual occurrences that verify that one is going in the right direction!
My own Optimum Trajectory pointed in a direction that completely surprised me, and in fact, led me to quite a bit of doubt: That of the creation of a new form of art. As an illustrator and painter with thirty seven years of skill-building towards objective and realism art, it seemed absurd that my own OT would suggest "abstraction", which is a subjective art, something I had never experimented with or knew anything about.
Curiosity led me to review abstract art, from known pioneers of the Impressionist Era to current artists; from the mildly altered styles to completely baffling paintworks. Some was delightful, some intriguing. In all of this I did not find what I was looking for as clues toward my own direction, but the idea that a new form of art was possible took fire.
Simultaneously, I began painting experiments in shortcuts and simplification to get to the raw impression of the subject painted, while a growing pile of Optimum Trajectory sessions showed the path to follow. I began the process of simplifying the internal dialect of my art to do more with less, using less brush strokes towards the end of conveying the pure impression of something.
What usually took me three days to paint was now realized in about three hours. What became surprising was the sudden change in drawings produced in TRV sessions; the sketches became fluid and extremely interesting…as art! I jumped at this, but found many difficulties translating these line-art pieces into full blown paintings. I realized that I had found something not attempted before: Paintings from the unconscious based on a subject, or object. Abstract art is subjective, how the artists "feels", but in the case of art from actual TRV sessions where one is recording data that is "objective" and perceived through the unconscious, it becomes abstract "objective" art; seemingly a perfect balance between the two opposing arts: Objective and Subjective.
I now was faced with the monumental task of understanding what I was attempting to do, and not invent another "hyped" art form. You see, line drawing is done as a basic approach by anyone trying to convey a visual idea, in the hopes that their works and sketches will convey a creation of thinking toward a set goal. TRV also conveys an idea through simplified forms in its protocol and structure to "bring forth" data based on specific aspects of the thing viewed to convey the best understanding. Artists are always advancing their skills towards the end of making a thing look like a thing, but when an artist is faced with making a thing "feel like" a thing by visual presentation alone, the lack of explanation creates confusion.
To make two dimensional drawings convey three dimensional ideas is a difficult challenge. It became apparent that even the colors would matter in such a painting skill, and the idea of transmuting the suggested ideas, even in symbolic forms, gave way to the understanding that symbols are well nigh universal in their recognition. Suddenly I was faced with the task of consciously choosing colors and symbols to created entire landscapes that actually meant something. This would take immense time to mentally process, then execute on canvas, when it came down to how one "felt" the explanation to be described.
Within the Optimum Trajectory data was the insistence that the paintings be done quickly, with speed, in the same way that TRV is employed; quite the opposite of the slow and laborious process of concise objective art. One must enter the unconscious and its descriptive ability, if we but stand aside with our own thinking, to instantly deliver the best type of symbolism conveying the idea and actual essence. Again, this is where the process of TRV actually delivered forth incredible insight in "stepping aside" to let the paintings produce themselves. The painting sessions became more like a TRV session with no time to think about what one was doing, only the action of doing it in a swift method to not lose the impression.
This has been THE most difficult (and rewarding) art project I have ever done, and I am fast working the perceptual and theoretical bugs out of it. It is designed to be done and approached only through those who practice and understand TRV. This is fantastic and powerful stuff that is based on TRV--my own personal leadings in my Optimum Trajectory to discover a new art form--and somehow I feel I have accomplished pulling together Technical Remote Viewing, my own Optimum Trajectory, and the practice of the art that I love. Who could ask for more?
