Practical Witchery!, John Stormm [ap literature book list txt] 📗

during different parts of the year, tend to have a certain proclivity towards one or more of the elements of Fire, Water, Earth and Air.

A person who is a Water Sign, will have a natural affinity for Water, in its many forms. Scrying into a basin of water will come easier for them. Likewise, an Earth Sign person, may do better with crystals or crystal balls, or even polished obsidian mirrors, than someone else might. Air Signs, may hear voices in the wind, or in combination of any other element that includes Air into its make up. A Fire Sign like myself, has an affinity for Fire and can use the flame of candles, a fireplace or a campfire and see things shown in them. Or in extreme cases, also like my own, they may safely handle flame and scry into it. I don’t recommend that you try this, unless you already know it, or are in some place where you can safely cast it down if you feel any pain, without putting yourself and others in the danger of burning down the house, or some such disaster. You should give yourself a chance to try each of these elements as you can. There are people born on the cusps of other influences, that can relate to more than one element fairly well. Don’t take it as absolutely dogmatic that because you were born in a Fire season, that you have no affinity at all for Earth or Water.

You want to have your brain working fully well. If you’ve been sitting long, or cramped: You should stand and stretch out a bit and maybe take a couple good cleansing breaths, much as I’ve described in Square Horse Breathing in an earlier chapter. Now that you are sure that there is fresh blood and oxygen moving freely about all of your body. Find a comfortable place to sit, where you can gaze comfortably into the object of your choice, without having to hold your head or neck at any odd angles. The aches and strains can be all too distracting, and keep your focus from where it needs to go. I’ve known people who would lay on their backs and gaze long at a light bulb, or even the sun. That’s a bad idea. Those can burn after images into your retinas, and even become a permanent blank spot over too much time.

I prefer a single candle. A single candle power, has no chance of burning a permanent image into my retinas. It is an easy, single focal point for my eyes to rest on. The same can be done for a glint of light on the surface of a bowl of water, a crystal or anything else. I allow my focus to relax into my focal point, and breathe slowly, evenly and freely. Eventually, my mind and focus will reach a thresh hold where they move me on, to what I’m searching for, and the visions become apparent to me. From there, I can search further and deeper into them for more information and details.

In yet another book that I’ve been writing, and not yet published; I’ve described a session that myself and my best friend done in those days, using a candle and a drawing pad. We were trying to see on our own, exactly how far that I could really push this talent. MK Ultra testing never took me beyond some points on earth, and usually something in connection with the Soviets, bases, known spies or some such thing. It will eventually be published as “Witch Clan: Dark Heritage” or similar. But I’ll include that excerpt here, so that you can see how such a session, commonly happened for us:

“ The boys had the living room to themselves for the afternoon at the Brooks house on Hayward Avenue. Butch pulled the draperies shut to darken the room, and Johnny set a single candle on the coffee table, pulled a sketch pad out of his book bag, and made himself comfortable on the couch. Butch sat down in a comfy chair and turned on a portable, reel-to-reel tape recorder to record the experiment.

“It’s 2:35pm, Sunday afternoon and today’s date is April thirteenth, nineteen sixty nine. Butch Brooks and Johnny Storm are present for this experiment where Johnny will attempt to use his remote viewing talent to explore the canals of Mars,” Butch spoke quietly into the microphone, as Johnny stretched out the kinks, breathed deeply and relaxed in preparation for the experiment.

Sitting upright in the center of the couch, with his sketchpad on his lap and a pencil in hand, Johnny relaxed his vision on the lit candle on the coffee table directly in front of him. He narrated what he was seeing and experiencing for the benefit of the recorder.

“I can see myself rising upwards through the roof now,” Johnny said.

“Can you see the surrounding neighborhood?” Butch asked.

“Of course,” Johnny replied, “I’m high enough now to see there’s a fender bender in front of the bank on the corner of North Goodman and East Main Street. There’s a truck unloading produce or something at Camp’s in the Public Market.”

“On a Sunday?” Butch asked, doubtful.

“That’s what I see,” Johnny replied, “I don’t make judgments, just report it. I am gaining speed and going much higher now. I know I want to travel further out from the Sun and go to Mars. I see the Moon growing bigger and brighter.”

“Check out the other side as you pass,” Butch suggested, “and tell me if you see anything interesting.”

“Just more of the usual stuff there,” Johnny replied. “More craters and sharp looking mountains. Oh, wait. It looks like tracks of some kind, coming from a shadowy portion near some mountains.”

“Like Bigfoot or what?” Butch asked, excitement growing in his voice.

“No,” Johnny replied, “It’s more like tread marks like a machine would make. I don’t see anything moving anywhere though.”

“Okay,” Butch said. “We’ll check those out another time. Can you see Mars out there anywhere?”

“Yes, I see it very clearly in the distance,” Johnny replied. “I’m picking up speed to go there now.”

“You’re going to have to travel at near light speed to get there anytime today buddy,” Butch remarked.

“As fast as thought,” Johnny replied, calmly.

“Head for the thicker dark areas of the canals,” Butch suggested. “Those should be the most interesting areas to find anything in.”

“I hate to disappoint, bro,” Johnny remarked, “but the closer I get, the more obvious it becomes that those aren’t canals or forests. Huge areas of the planet are torn up with impact craters, huge mountain ranges and gorges that make the Grand Canyon look like a scratch on the Earth’s surface. There are deserts as far as the eye can see and a dust storm that must be traveling about two hundred miles an hour. The only Martians I see are twisters running the plains here.”

“No ruins of any cities or signs of any civilization having been there before?” Butch asked.

“Nothing,” Johnny responded, “but wait, I swear I’m looking at pyramids. Several of them and something big just out on the plains beyond them. I’m flying in for a closer view of the giant sculpture. It’s a face, Butch!”

“A Martian face, or something more like a Sphinx?” Butch asked.

“It’s a single, human looking face,” Johnny replied. “It’s carved in a huge stone, kind of like Ayers Rock in Australia, looking out into space. It‘s kind of human but lacking some detail.”

“Do you think someone carved it to be spotted from space?” Butch asked.

Johnny blinked a few times and stretched his neck a little and drew a couple pyramids as seen from a high altitude and a distinct face looking up into space a ways off from these.

“This is about what I saw,” Johnny said, showing his friend the drawing.

“At this point, we will be analyzing our findings in this experiment,” Butch spoke into the microphone. “It would appear that we have some evidence of machinery having traveled across the plains on the far side of our own Moon. We also have discovered that there are no real canals on Mars and that any life that may have been there to build those pyramids and carve that face are long departed or possibly gone underground to live. They were probably somewhat humanoid in appearance as the face suggests. This is still amazing news for all the let down about the canals.”

“What news?” Johnny asked. “We can’t prove anything that I saw there really exists until they send a rocket there. We might get some information from the Apollo mission to the Moon, this summer. But I’m going to bet that even if they see something, they’re going to keep it hush-hush for years to come. Mars will be even further into the future. For us, this is just going to be one of those things we’ll have to keep under our hats until technology catches up with us and then we can say we knew that.”

*End of Excerpt*

Back To Today’s MK Ultra Version…

I’ve described the aspects of my methods of information gathering, in the earlier years of MK Ultra, and you might even agree with those who might prefer to call the sensory tank version as “astral projections” as opposed to “remote viewing”. But after the 1970s and Ingo Swann, the preferred methods of remote viewing changed considerably. I’ve been told that nearly everybody can do this, but I didn’t really see this as an improvement upon what I was already doing. I also had a tendency to want to go places and see things that they did not want seen, or looked into. In my own mind, I’m not sure that I believe their techniques now, are really an improvement, or another means of putting blinders on the viewer and keeping them from becoming too familiar with a target, as I may have done too often to suit them. But I’ll share the technique here, and allow you to try them and decide for yourself, what works best for you.

The Sonar “Ping” Technique…

This is a remote viewing technique, taught by Ingo Swann’s protégés as they teach at the seminars. I believe there’s even a portion of one of these seminars available on YouTube. I think they sell templates and such for the questions you ask, and the list of information that you will make. The way this works is as follows:

You, the remote viewer, sit down at a table with a pad and paper. Ideally, you should have the “official”, sanctioned template in front of you while doing this. You pick out your target, or even simple coordinates on a map. It’s not important whether or not that you’ve seen the area before. Item by item, you send out a “questing thought” (my term), like the “ping” of sonar in a submarine, blindly exploring the see bottom for shapes and details. It’s important that you ask only one question, of only one aspect of your target, and write your very first impression down on your pad. As they say: They are ALL 100% correct in their own contexts. But you need to determine HOW are they so? It goes something like this, with each question being like a “ping” on your sonar:

Objective #523 (This would be a pre-selected target site)

Urban or Rural? *ping*

“rural” (the first thought you get)

Buildings or barren? *ping*

“buildings”

How many buildings? *ping*

“two”

Color of first building? *ping*

“white”

Color of second building? *ping*

“red”

This would continue on and on, until you have quite a list of information built up. Normally: someone else would take this and interpret it, to reveal something, such as a rural white farm house and a red barn, and whatever other details that you supplied. This strikes me more as those compartmentalized efforts used in secret installations. As I said before, I like my old ways MUCH better. I can see and understand what I am looking at. THAT may be why the method of viewings were changed