A few issues ago we shared with you some of the visions and new discoveries which people like yourself have brought back with them from use of the procedure given you in this month's column. (To retrieve that article click here.)

This time we give you the procedure.

One of our purposes here, as with release of my major new book Discovering the Obvious, is to stimulate the creating of an economy-stimulating flood of new inventions and scientific discoveries. This method also enables one to find and innovate new procedures and even new art forms. Use the procedure taught here also to engineer the most profound of positive breakthroughs in your own personal life or work situation or firm.

We have already explored at some length that your unconscious data-base and processing are greater than what can be found in any supercomputer, while what's conscious experience for you at any given time is comparable to what's up on the screen. You - and your unconscious resources - have lived in this physical universe for a good while and your own resources have a much better idea than "you" do of what works and what doesn't. That part of you which sometimes gives you the experience of "having the answer right on the tip of your mind," does - and all the time, not just on those occasions. Like using different software programs to get at and use different types of information in your computer, the "Beachhead" procedure here is one of many programs for getting at and using your larger resources in the context of discovering workable answers - whether in terms of innovations in your own work or life, in terms of inventing new processes and devices, or even in terms of making new scientific discoveries. Part of you does know.

Teaching this process to "ordinary" people, most of them technology-naive and without apparent scientific background, immediately gave rise to more than a thousand inventions which, when checked through, turned out to be "workable" - i.e., they "work." One short day's experimental work with 17 EMRs - educable mentally retarded persons - produced 17 original, workable inventions. --Because we were dealing with each person's total data-base and information resources, not just with the formally developed conscious intelligence and formally understood data.

The procedures we've been publishing apparently work for everyone, almost without exception. This "Beachhead" procedure, however, may be an exception because for most of us, the first time or so, it takes patience to get at and develop all the necessary detail for creating back here a workable, understood, invention. After the first time or so, it gets quick and automatic. Just about every trip, once you've built the first several experiences this way, will quickly give you a workable and understood invention or discovery. But so that you have a good chance to start with full success, undertake this "Beachhead" procedure the first time only when you have a good hour available, and feel that you have enough patience to dig for more detail than you would ordinarily feel like going for.

This month's procedure features, as an Einsteinian "Deep Thought" experiment a science-fiction theme: visit, through your mind's eye, some highly advanced world. Everywhere you look in this advanced world, are items in common use there which, back here on Earth, would be original inventions, innovations, discoveries or procedures. Select one item during your "visit," "copy" it by observing and describing it in as much detail as possible, then from that detail reconstruct it back here as your invention. (Even with a live partner to help as your listener, you may need paper to make sketches on.)

This procedure is a productive piece of software for your mind in much the same way that you run software in a computer for particular results. You no more need to believe that you're actually visiting that "advanced world" wherein inventions are laying around to be copied, than you have to believe in Word-Perfect 5.1 in order to operate it. This "visit to an advanced world" procedure is, simply put, a tremendously productive piece of software which frames an opportunity for your own subtler resources to show you unsuspected scientific and technological marvels. Marvels which, when put to test, "work."

What has happened in our world, in fact, the past few years seems far more improbable than any science fiction, so this theme seems tame by comparison. The fall of the Soviet Empire; the elimination of strategic nuclear weapons and their potential for exterminating humanity, from the world stage; the startling rise of personal computers and the Information Revolution: though we've lived through them and therefore tend to discount them, those changes in our lives are huge. With events that huge already having happened to us, what's another major change or so? The procedure we're asking for here is certainly tame and conservative by comparison - to imagine visiting another, more advanced world and finding devices, discoveries, procedures and arts in common use there which, when copied off and created here, will serve us as inventions. --Like the observations and visions of that "winsights" column a few months back.

This procedure is one of many ways to get at the innate understandings which your more sensitive faculties have built up, of how our universe works, regardless of whatever your apparent scientific and technical background or lack thereof.

However, it does help to make the experiences as intense and as detailed as you can: hence all our strategies of rapidly describing in sensory detail, these advanced worlds to actual or potential listener while examining those worlds. Many science fiction writers have imagined advanced worlds, but less than half have come back from such imaginings with predictions of discoveries or devices which actually proved to "work" and be true. (Even that half have been much commented on as "seers and prophets.") You need the strategies given you here, with such describing-while-observing, to do better than they did and to come back with a very high rate of such accuracy.

That, of course, is one key to the "Beachhead" process in this chapter. Another, even more crucial key is the patience to go after all the detail needed to comprehend the chosen device in order to "re"-create it back here on Earth as an invention.

Here are some ways to work with this which will help you get results:

1) Allow yourself to be surprised by what you see. Work with whatever imagery actually comes up, regardless of whether or not you think it fits what you are seeking. For example,

Mario C. was looking anxiously to visit some very futuristic civilization to see all sorts of remarkable things. His chosen purpose for this visit was to find an inexpensive new source of electric power. In his vision - Mario C. was sorely disappointed to find himself standing in a grassfield, apparently an ordinary cow pasture. Other than pasture, he saw only a rustic fringe of trees on the left, with no futuristic city, and nothing even modern in sight. He could barely be prevailed upon to stay with the vision and to continue describing what he was seeing. Worse, in that disappointingly unfuturistic-seeming grassfield Mario kept finding himself stumbling over trailing cables and stanchions.....

Prevailed upon finally to describe these, Mario discovered: that these cables led to the tops of trees, and from there to one-way wind-up ratchets which, in turn, drove old-fashioned electric generators salvaged from old telephones and automobiles. Every time the wind blew, tree movement drove the ratchets which in turn steadily drove the generators.

--So rigged, trees are natural windmills - and, since they are already there by nature, they cost less to install than do constructed windmills. The sense of the vision was that, at least in breezier sections of the country, a small forest would generate enough power to energize a small city much of the time....

We don't know what the actual costs of such a power source would be, but it probably would be competitive in some regions and under some conditions. The invention would have been missed altogether if Mario C. had not been prevailed upon to stay with the vision, even though it differed from what he had expected to see.

So: allow yourself to be surprised, even startled by what you see in these undirected, receptive visualizations. Describe your perceptions, what's actually there in your mind's eye, not your expectations!

2. Describe your imagery while examining it. This develops the imagery, as it did Mario C.'s, and as you experienced in the Answer Spaces of your "Over-the-Wall" problem solving exercise. The Einsteinian method described what was "seen" only after the imagery experience was completed: as a result, its practitioners needed high self-discipline and so were consequently rare and even so, had to, like Einstein, take special measures to keep from going to sleep in mid-meditation. Holding rocks in either hand like Einstein did might help keep you from nodding off in mid-vision, but won't help you actually develop that vision. --Whereas your describing will, and quite powerfully. The more colorful and richly textured the detail of your describing, the more effective it will be in developing your vision. The more rapid your description, the better your chances of outrunning your internal editor into some real payoffs.

Note that the subtler and less defined the phenomena which gets described into consciousness, the more distant from verbal consciousness will be the parts of your brain which are transmitting to you perceptions of these phenomena. Thus will be the greater and more rapid your gains in awareness as you reinforce these subtler, more remote regions of your brain onto line.

3. Keeping your eyes closed while exploring and describing these ranges of experience will also allow you to examine subtler perceptions than might otherwise be possible, your inner vision not having to compete with your outer. Keeping your eyes continuously closed during the experience builds up also a continuity and power, largely dissipated each time one checks back into outer vision. In other words: even if you get good inner imagery with your eyes open, you might be surprised to find how much further subtlety you can plumb when you don't make your inner vision have to compete with your outer.

4. The more richly textured the description, the more richly textured the ensuing experience. Stay sensory in your descriptions - this keeps you in contact with, or deepens, your contact with those reaches of your brain whose main working language is sensory imagery. --Those reaches of your brain and mind which have the understandings we are trying to bring conscious. Build sufficient sensory contact with the experience and your intellectual understandings will take care of themselves.

Your descriptions should be--

> In there as close as possible to the richly textured sensory qualities of the perceptions you are relating.

> Reaching as much as possible as often as possible to somehow convey the unique effects of this experience, to whomever's listening (or to whoever might eventually listen to your tape).

> Sustaining as long as possible as rapid a flow of description as possible so that whatever effects have opportunity to build up.

> Relating as clearly, frankly, detailedly, objectively as possible what is there in your perception.

Nurture and pursue much of each of these 4 keys - and allow your vision to surprise you - and the whole universe is open to you!

5. Setting up to learn or discover or retrieve any perception: simply fit it into some appropriately designed format. Then begin describing from some easily accessed corner of that format and context. Move forward describing your way through more and more of what you find yourself experiencing in that setting, until your description has come upon and opened that particular perception and its contents to you. Detail more and more of what you perceive, and that particular perception's contents once you've come upon it there will be more and more shown to you.

6. You don't have to figure out anything or understand anything until after you've developed your data. Only after your data is out there, then bring all your analytic, judgmental and other intellectual faculties to bear, to make sense of that data. Only after! For now, though. describe in sensory detail what you find in these visions. Taking the short-cut of recognizing what or where you are looking, and settling for naming that instead of describing it, inserts a level of abstraction which comes between you and full contact with the part of your brain you are seeking perception from.

We can resurrect our analogy about "two feet of the mind" from the previous chapter. --Only this time instead of referring to creating freely and then judging freely, each in its turn, let us speak of observing and describing freely as one "foot," then analyzing and understanding freely, as the other "foot." Not only in our interior visions: we are all too prone to try to hop through life on our analytic foot, drawing upon what we think we "know," such "knowledge" in turn too laden with third and fourth hand information rather than based upon first-hand experience.

Observe first; the sensory data first, then try to make sense of the observation. Trying to "make sense" too early shuts off much of the opportunity for your subtler faculties and vision to surprise you with further, relevant and even more significant insights.

We recognize that a few among those of our readers who are most heavily trained in formal academic or science-related method and content, will have some difficulty at first in allowing themselves to be surprised; in holding back on judgement until the data is in; in allowing the data in first before deciding what to see and what they are seeing. Yet your formally trained colleagues have managed to do just that, and can now perform original research, discovery, invention or innovation world-first class. The above 4 keys are an excellent way to focus your efforts to bring about your desired gains. Even those with initial difficulties should, within 3-4 tries at the main "Beachhead" process of this chapter emphasizing those 4 keys, should find themselves looking at original discoveries, devices or other meaningful, workable breakthroughs. Some of those even with those initial difficulties may find yourself with original breakthroughs on even the first try. After your first breakthrough or so, you will likely experience fresh new breakthroughs each subsequent time you use "Beachhead."

Scripting the instructions for "Beachhead:"

*****

From writing many instructional books, we have learned to give the most detailed form of a procedure first, then the condensed, self-use version. We counsel the reader to read the detailed version first and have that information in back of his mind while following those simplified, condensed instructions. Also, we've learned that the very most effectively detailed version of these procedures, which we especially want to provide for a procedure this important, is a word-for-word script designed for one person to read, step by step, to a partner or to a group to perform. This way lets us address the procedure in its fullest detail, for you to read before you take yourself through the simplified version.

Also: if you get a second tape recorder, you can pre-record the following scripted instructions the same way that you might read them to a group. Playing that tape back, to cue you step by step through the experience, you can record your experiences step by step recording into the other tape machine. (We also intend to create our own such tapes and make them available, similar to several of our present taped courses.)

So here is, first the group script form of your instructions for that most invention-productive of all post-Einsteinian Discovery procedures, "Beachhead." The idea behind the name is to establish a beachhead in a highly advanced civilization, use that beachhead as a familiarized, convenient site to return to, again and again, to discover many things there and copy them off as inventions back on Earth. A highly advanced civilization will feature not just one item but many, a whole world's worth, which we back here haven't yet gotten around to creating and developing.)

In this following script: it is the instructions in quote marks which are read aloud to the group or to the tape, for the hearer(s) to be cued step by step. The instructions in parentheses are only to guide the person who is reading those instructions, and are silent, not passed along to the hearer(s) as part of the instructions in building the experience.

(* Please arrange a space which won't be interrupted for 40-60 minutes - bury the telephone or take it off the hook...)

(* Have your participants work together in pairs. Three working together is o.k. but that cuts into the time each participant has for describing, so pairs is better. Have each member of the pair sit closely together so he can hear and be heard without effort when everyone is describing experiences. This prevents oppressive din and makes the room experience an agreeable buzz-murmur and a "psychic resonance field.")

(* Have at hand a water glass or chime, with spoon or other metal striker, whose sound will be agreeable and easily heard above many voices without having to be loud. Establish with your participants these agreements -

(a) That one "bing" on your chime or water glass is a half-minute's notice; for participants to keep on going on the one "bing" but be ready a half minute later to hear your next instruction.

(b) That upon three "bings," everyone instantly pauses in his talking - not only in mid-sentence but in mid-word, to hear the next instruction and so that the next instruction can be heard. Stopping talking does not mean stopping experiencing! --Indeed, the whole point of these agreements is to get arrangements smooth enough that you can slip in one instruction after another without interrupting the experience, which therefore can build, layer by layer, into extraordinary ranges of effect.)

(* Establish also with your participants that they should close their eyes and keep them closed during the experience in order "to see more freely." Also that they should notice when actual visual images happen in their experience, and switch to describing these, even if they lead in some direction other than that which is being cued by the instructions. These images might represent a more direct route to the desired goal, presented by one's own subtler faculties.)

(* Allow enough time in the intervals between steps for your participants to build rich and intense experience, but not so much time that some get restless and wander out of your process wondering what to do next. If the group gets going well and there is plenty of time available to work in, Steps # 18, 19 and, to some extent, 21, are the ones it is most useful to allow to expand to 8 or 10 minutes or even longer. Usually, after the first several minutes of describe-aloud interval, momentary let-ups in the ongoing buzz-murmur are the best time to start the process of moving on to the next step. Be more sensitive to where your participants are than to the formal intervals of time suggested here.)

(* Here, then, are the specific steps of the "Beachhead" procedure, to be read aloud to your group as indicated:)

The "Beachhead" procedure:

(Have everyone involved take a deep, rewarding stretch; slowly let down from that stretch into the "afterglow" of that stretch, settle into a deeply relaxing, comfortable position, let go 1-2 great slow satisfying sighs, and close eyes....)

(Orientation:)

1. "We enter this experience together for the purpose of finding new products or services of possible value, which can be provided entirely from the resources we now have readily to hand. We don't have to figure out what we are going to invent, or plan ahead what it is we are going to see. We'll just sit back and let the subtler portions of our minds and brains show us. Let them show us whatever it is that they will show us. Let them surprise us with what they show us. All we do for now, once the experience is underway, is sit back, observe, and describe to our partner what it is that we are observing. Later, after we've described all that we've seen, we can try to make sense of what we've seen. --But for now we don't try to make sense of it, just see it and describe it and later maybe we'll figure out what it is that we've seen and described."

2. "The more that what you see in this experience is a surprise to you, the better the chances you are genuinely getting inputs from further reaches of mind and brain. --Reaches well beyond those where you do your conscious thinking. Those further reaches contain all the experiences and information which we've ever encountered, whether conscious or unconscious, from the very beginnings of our life. Since at any given moment only one in 100 of our incoming experiences is received consciously but we still have in memory all 100 awarenesses from each moment, each of us has an available data-base greater than that even of the greatest universities."

3. "--And just as more and more formal information in the great universities and libraries is going on-line, available through computers, so also our own internal data-base is on-line, available through these inner visions. We describe in words, with our conscious minds and to our partner. Describing our inner imagery brings more of this internal data-base, and our subtler mental faculties, closer on-line with the part of the brain where we are mainly conscious from."

"In this learning phase of this experience, we still need some patience with these beginning steps of instruction, which used to be a lot longer. After we've been there, the return to any advanced world for inventing is a lot quicker than what we're doing this first time. It helps patience to breathe deeply, slowly, smoothly, and in a way that feels good. While we're starting this trip, let's also work on making each next breath of ours feel better than did the breath before it, and see how far we can get with that good feeling."

"The more detail you can describe from your inner experience, the more you will see and the closer on-line will be that subtler part. --That subtler part of you which has lived in this physical universe for quite some time, and which knows very well how the universe works and how things work."

4. "And the more rapidly you can describe also the things I will ask you to describe, the more these further reaches will be pulled on-line with where you are conscious from. For that reason, instead of politely taking turns with your partner, in effect both of you should be talking at once, this way: as one of you pauses for breath in your description, the other of you rushes in with description from his experience. As he has to pause for breath, you rush back in with further description of your experience. Do make sure that both of you do get a reasonable share of the available air time. The air time usually runs two minutes or so after each step I'll give you in the experience once the describing gets rolling. Get as much of your own description as possible packed into every available moment in that two or more minutes because the more that you describe aloud to your partner, the more and better you will see in the experience."

"--However, yours is a partnership, not a competition, so do please allow your partner enough time to speak. If you are deeply into your own experience, you don't need to give full attention to your partner's descriptions, since you won't be tested on them. It is enough just to be there as his external focus to describe to, just as he is there as your external focus to describe to."

(Setting the Stage:)

5. "Let's set the stage for our Mind's Eye now. Because our physical universe is so very large both in time and space, it likely has more worlds which are inhabited than we can count. Even if it did not, imagining that it does gives useful routing instructions for the inner workings of subtler reaches of our brain. This routing or use-code provides our subtler faculties a way to bring their subtler information to our consciousness. Setting more of that stage,"

6. "European world civilization since the Dark Ages is only about a thousand years old. The history of our modern Euro-American portion of it is only a little less than that and, through classical Mediterranean civilization before it, draws on a continuity of recorded experience running back only about ten thousand or so years. Yet nearly everything discovered or invented in the scientific, technological phase of our civilization has come within the last two hundred of those years. Billions of other civilizations throughout our universe, some of them resembling our own people and our own civilization and some of them quite different from us, are bound to have been, or still can be, in a scientific and technological stage. Some of them may have been in a highly productive, rapidly evolving, scientific and technological stage for thousands or millions of years and still accelerating, while others may be just coming into that stage."

7. "In this experience, let's imagine visiting one such civilization. While we're there, we'll stumble across or find devices there in common use which would be new inventions back here on Earth. As our inner minds' way to show us new inventions, let us experience them as devices we stumble across in our inner vision, as devices in common use throughout the highly advanced civilization we will visit in this experience. There we'll take a good, detailed look at the device, in enough detail that when we come back here we can 'copy' and rebuild it back here on Earth as an invention."

8. "Because there are so many civilizations out there to choose from, we have many potential inventions out there, in fact, and many forms of any given invention to choose from. So: whatever invention we get in this experience, might as well be in its simplest, most understandable form, and in a form that is harmless and which brings the most benefit to any or all who are affected by it or involved with it. AND: we might as well get whatever that invention is, in a form which can be readily built back here from off-the-shelf components and materials and techniques, the simpler the better. --Inventions we can readily construct from the resources we have immediately available. How do we get from here to the experience of that highly advanced, real or imaginary, civilization which has this most suitable invention lying around for us to come across?---"

(The Experience:)

9. "For this experience, let us use an imaginary elevator - because we are used to the experience of movement in elevators, and because elevators are partly automatic and take us where we want to go without our having to pay too much attention to the driving. Anything, though, will do to provide for us the experience of getting from here to there - car, plane, bus, train, even a Star Trek Transporter with its Federation technology on loan to us---whatever you like.

"For convenience, this time I'll suggest the elevator which we'll use to ride us to the highly advanced civilization. To begin with, with your eyes closed, please imagine pushing the call button on an elevator. Because the elevator is coming from so very far away and we have a long wait before it arrives, we have time for this next step. --The next step being to imagine that as you're pushing the call button you are looking at the back of your own hand in that act, seeing the skin color and texture, the fine hairs, the nails and knuckles, the hints of the underlying structures of muscle, tendon and bone. --Notice also the feel of your hand pushing that call button....."

10. "Imagine now stepping back from that elevator door and looking at that elevator door, real or imaginary. Perhaps that door is familiar or it's one you've never seen before. In the two minutes or so before I announce arrival of the elevator, please use richness of detail in your description to make your elevator door as utterly real as possible to your partner, while your partner - whenever you have to pause for breath - makes his elevator door utterly real to you. Try to make anyone listening see and experience your door through the rich detail of your description, and while your partner is trying to make you see his or her door. It's pretty much O.K. if you end up seeing the same elevator door, but it's probably best to stay with your own. So pretty much stay with your own elevator door experience but in any case, don't allow any air-time to lapse between you. In the two minutes or so before I announce arrival of the elevator, please force the utter reality of your elevator door into your listener's experience by describing your door in as rich a detail and in word-pictures as you can, beginning now....."

(* Allow 2-3 minutes or so. Check that everyone is actually participating, but under-manage rather than over-manage, to make sure you don't intrude on anyone's process. You may be surprised to discover that if you, yourself, run a similar picture in your own mind's eye describing it silently or very softly to yourself, your group will work even better. Running this experience in your own mind's eye also will automatically improve the quality of your instructions to your group thereafter.....)

(* After several minutes, or when there's let-up in the ongoing buzz-murmur, lightly sound your chime or water-glass once, softly saying words to this effect, "Half-minute's notice, keep on going but a half minute from now be ready to hear the next instruction." Even said quietly, your words ride the chime sound as if it were a carrier wave. After another half-minute or so or with the next let-up in buzz-murmur, lightly sound your chime three bings, saying,)

11. "Thank you, eyes still closed, staying with this experience, moving even deeper into this experience: some of you may already have experienced the elevator arriving. If not, let it arrive now, and let's all of us step into our respective elevators now. To save time I'll describe a little about this elevator. Whatever the door looked like from outside, notice that from inside it looks like there is some sort of window set in it and you can see out. When we get where we are going, you will see a color flash beyond the door. I will ask you to identify that color. Then the door will slide open and I will ask you to step out there and describe to one another what you see on all sides, beginning with what's directly in front of you....."

12. "The control panel inside this elevator has a number of buttons on it - including the 'up-when' button for moving into a future civilization, one of many possible future civilizations. --Including the 'space' button for moving across our galaxy or across many galaxies even as far as the Great Wall of Galaxies if need be. Going either by future or across space to reach whichever particular high civilization happens to have for us the invention we're after and has that invention for us in the form which is best and most useful to us."

"See also there on the control panel, beside the elevator door, the 'down-when' button to move us to possible, real or imaginary, civilizations deep in the past. Note there is even a 'side-when' button to move across parallel tracks of time to where our own lives, our own civilization or world, took a different turning than in our own past, and developed the thing we now seek here....."

13. "Please note, in the lower corner of the control panel, a button and packet labelled 'disengage.' Disengage that packet and imagine sticking it in your pocket. Any time you want to get back in a hurry, or leave a visited civilization without taking time for the elevator, or are just too lazy to bother with the elevator: just slap your pocket and find yourself back here on our Earth, in present time and space..."

14. "This time, let your finger rest on the 'Space' button, to go across galaxies to where a high civilization awaits your visit. If you prefer 'Up-when,' meaning the future, recognize that your observing the future necessarily changes the future and generally for the better - and that the one future being viewed is only one of many possible futures ahead of us. For convenience, though, perhaps the next time you use this elevator use its 'Future' button and for now, this time, let's go across the galaxy with the 'Space' button...."

15. "Let your finger lightly rest on the 'Space' button without pushing it yet. That's to make possible the convenience and mutual reinforcement of us all going up at once when the time comes. With your finger lightly in contact with that button let's program your elevator to take you where you want to go. With your finger resting lightly on that button, say silently to your elevator but say it loudly in your mind, some form of this instruction:"

"'Take me to a highly advanced civilization where I will observe a useful and beneficial device in common use there which I can copy, understand, bring back and use back here on present-day Earth.....' Say things to your elevator like, 'Take me to a highly advanced civilization where I can observe and copy a suitable device there as an invention here.' Say silently to your elevator, programming it by having your finger on the button though not pushing it yet, think loudly to your elevator some form of this instruction, 'Take me to the point of experience in that highly advanced civilization where I'll best be able to view and understand this device, technical solution or innovation in its most useful and beneficial form. --And in the form my resources back here will best let me re-create it back here. Take me to a point of experience where I will be best able to understand and copy off the device in detail to bring back....'"

"Give some form of that instruction to your elevator, silently with your finger in light contact with the button...."

(* 10-15 second pause, then continue:)

16. "Good. Soon but not quite yet, we will press that button and let ourselves experience the movement of this elevator. Because this experience of an elevator we are riding is more than a mere elevator, is instead a Space/Time Transporter, the movement we experience may be much more complex than just the movement of going up or down. Then we'll suddenly feel the elevator drawing to a stop, a color will flash through from beyond the door. I'll ask you to tell your partner what that color is, then the door will open and you'll step forth into whatever scene from your highly advanced civilization will best provide you your invention for this session. Because from inside, this elevator door is transparent, while the elevator is still moving you may even get to see some things which belong with this experience before you get there--if so, you can share these with your partner after you've arrived in the high civilization, as part of your ongoing description."

17. "For now, let's prepare to push that button when I count down from 3 to 1, on the count of '1' we will push that button, are we ready?--I'm counting down now '3'......'2'......ONE!-push it now! (lightly snap fingers or tap table or wall for emphasis.) Elevator's moving - feeling motion - let yourself feel whatever motion or motions, some of the motion might be hard to describe when we're sharing later but it's interesting to note how some of these motions of our Space/Time Transporter feel -- up, down, sideways, angles, spirals, maybe combinations of motion. We're arriving, feel the elevator stopping, the color through the door! What is that color? Name to your partner whatever impression of color you have. Please quickly tell your partner your color impression now!....."

(* Allow the 5-10 seconds needed for each to tell the other his respective color impression. Then continue:)

18. "Now let the door slide open and step forth into this scene of some remarkably advanced world. Describe this scene in richly sensory detail, make it utterly real to your partner in sensory-evocative word-pictures. Beginning with what's directly in front of you there, then to either side, then with whatever more comes into view or contact as you move through the areas of this scene - beginning with what's directly in front of you here, make this new space utterly real to your partner as you resume describing richly now....."