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SUMMARY ANALYSIS
REMOTE VIEWING SESSION #927
1.
(S/NOFORN)
This report provides documentation
of
a remote viewing
session conducted for training purposes
only.
2.
(S/N0F0RN)
The protocol used for this session
is detailed
in the
document GRILL FLAME Protocol,
AMSAA Applied Remote Viewing Protocol
(s)
,
undated.
3.
(S/N0F0RN)
Post session analysis
on target viewing indicates the
viewer had
a considerable amount
of correlation.
The viewer
s attit
was positive.
4.
(S/N0F0RN)
Following
is
a transcript of
the viewer's impressions
during the remote viewing session.
At TAB A are drawings and
made by
the viewer.
At TAB B
is target cuing information.
Also included
is available target
data.
NOT RELEASABLE
TO FOREIGN NATIONALS
#1
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transcript
REMOTE VIEWING SESSION #927
#66 :
SG1A
#25:
#66
:
#25:
#66 :
This will be
a remote viewing session for
1400 hours
30 June
1982.
It's time now to focus your attention
piolelv and completely
on today's target.
These are target coordinates.
Focus on the
target
coordinates.
Focus, on that area of the
^
e
®J;
gnat
d
as the
target.
Focus on that target designated by
the coordinates.
Relax now,
relax and concentrate,
mnrentrate
.
and describe the target to
me.
PAUSE
I have
a vague impression of
Spontaneous,
short expressions of the target only.
Describe
the target
to me.
water below,
a
st rip
of land and water.
And narrow down focus now.
#25:
#66
:
#25:
#66 :
SG1A
#25:
#66 :
#25:
Flat
And now focus on the exact target coordinate.
I have
a well,
country water wellj memory
trace,
my grandfather's house.
Focus
on
the target coordinate.
Focus only on the target and describe it to me.
Memory
trace of Point
Magu
, California , Inaval
air station testing.
*
Describe the raw data,
me what
it
is,
you
just
It's not necessary that you tell
describe the taw data to me.
mountains
in
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SG1A
#66 :
#25
:
#66 :
#25 :
#66 :
#25 :
#66 :
# 25 :
#66
:
#25
:
#66 :
#25
:
#66 :
#25 :
#66 :
#25
:
#66 :
#25 :
#66 :
#25
:
#66 :
And the target.
Train,
locomotive
Describe the target to me.
Have an impression of being
on
a mountain, the
side of a Stain,
looking out over the horizon.
As you
look,
describe.
Land for
some miles,
wate r beyond
it.
And right where you are,
describe what
is at your
feet.
Railroad track.
Describe the foliage
in the area.
Green trees,
small trees,
r
Describe the climate.
Warm, dry^New growth plants needed.
Describe the railroad tracks.
Two rails, ties going across
rook place out out the
side of
a hillside
or
a mountainside.
Face down the tracks,
look down the tracks and describe.
Tunnel.
»
Face the other
direction and describe.
Open plain.
Down the tracks?
Come out on an
open plain,
wide open.
Turn and face back the other way .. .Describe the size
of the tunnel.
SG1A
i
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#25:
#66 :
#25:
#66
:
#25:
#66 :
Goes for
a long way,
mile long.
#25:
#66 :
Describe the raw impressions that make you say
a mile
long.
Looked for the end,
couldn't see
it from the beginning.
Dark,
very narrow.
Look through the tunnel and look out the other side
and describe.
Another tunnel.
All right.
I have no further questions concerning,
It
is now time for
you to complete the session and
comment
as yousee fit-
-
,
ia the breaking wat^eves breaking
in front
of me ,
falling .
I hat
1 s
il
.
All right.
Let’s draw the imagery that you’ve had.
SG1A
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#25:
#66 ;
#25:
#66 :
#25:
#66 :
#25:
#66 :
#25:
DRAWING NARRATIVE
REMOTE VIEWING SESSION #927
waLr
on
one side and the sky
on the other,
very vague,
very vague impression.
That sort of remanded me of
u/hat Point Magu
,
California looked like there,
that
s
a water »U where
you
go and get water
to drink
or use.
mat^e think^ ot
today
as
It looks
to me like
a very
a well,
not like the we 1.'
an electrically powered.
Yeah,
it's
one
of those where you draw the water up with
a chain,
or
a rope with
a bucket.
Okay.
rwingTAsTe railed' tracks, with the high ground to
the lower
left
of the page and the
low flat
land to the
right,
upper right,
accupying most
of the page,
railr
see •bST’rSsSrt IKt^hinkl Lew
it that
^y“ beLuaLit is easie? to draw it that way and it
gust
came out that way
I
drew
it.
Okay.
rthelife 3
SSr a sa
#4, which
is the impression that
I
had.
And
I
P
the railroad tracks in now.
The tunnel
is not
in
thi
drawing,
but it’s
in there somewhere..
Okay.
Mountain to the lower
left again
^a*t
s' *5
water above it and the horizon aoove
x L
.
™.«
\ ^
W aT'THese' are all very vague impressions.
Igot
idea towards the end of the session
getting was symbology for somethingej^ like the w
and the
low flat
land and the traip'ind the railroad
tracks,
locomotive and railroad
£racks.
l^.gaPe
.
SpW that
it miahUaJAte^
fran
s
d or tat ion
or somethingJLl&c
that.
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#66:
Okay.
What
is there about this that
leads you
to that
conclusion?
#25:
I
don't know.
Except that it's all those things could
be symbols
of something like that,
now
I
don't know
if
it's water t r
gsnortatlon or not but that
' s what
I would guess,
i
think that's analysis.
That
is certainly
analysis,
I
think.
#66:
All right.
Without analysing then,
what you
think
is
analysis,
let's
look at some of
the major components of
your
thinq here.
You have water as a major component,
you have
low flat land as a major component
ancT'tfT&Pl
you have an indication
of
a primitive well you want
to draw
there.
You have some railroa a tracks,
bd t"*~
the ralTruaTT’tracks themselves are
laid
"over thl§
same land impression
of
a
low flat
land and water.
#25:
Yes,
good.
#66:
And you
febl that
if you put all this together
in
a
bag,
y ou
think that
it might mean
a,—What did you call
#25: f
A canaiW^ffealina with water transportation or something
rtke that .
like an
old canal used for barges
or something.
# 66 :
#25:
#66 :
#25:
#66 :
#25:
Do you have any other comments that you would
like
to make
and how you fell about this session?
I
don't really feel good about this session now.
Okay.
What
is
it that makes you say that?
Because nothing was clear. ^ Everything was
so vague
that
I naver really got a t|ood—except for the well
I never got anything really clear.
It was also fuzzy
when you asked for impressions of it,
raw data .*^TTiere
wasn't any raw data
at.
the time.
So
I had nothing
to
grasp.
When you
say they were vague,
are these visual things
you
saw,
this flat land and water
or impressions?
Well,
they're impressions,
but along with
the—at first
they were impressions and then
tfrey became visual,
but
they were never clear visual. •''it just
like enough
to
satisfy some need
I had to make
it visual and then
it was gone.
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#66 :
#25:
#66 :
#25
#66
#25
#66
#25
#66:
#25
:
#66 :
#25:
So you really never got beyond anything more visual.
No,
I never got
a whole
lot of
Felt
like you touched down and got sensual over the target,
you could feel
it under your feet,
or you could reach
out and touch the land or put your feet
in
the water
or
whatever?
Yes.
There was some
of that?
Yes.
As
a matter
of fact,
I
Okay,
how about ability
to move around at the target?
— I had everything down
,
tunnel and
I could nevei^find the end of
the tunnel and
I
r ea
1 1 ed
"my
' own imagery
to burst
out of the end
of the tunnel.
And as soon as
I
did that,
there was
a
little bend,
a little curve behind
it and then another
tunnel right behind
it, and the curve like gave me another
view of that same thing,
I had seen before.
Did
I hear you
say that
ou think that this
is creative
imagery at this point?
Well,
bursting
out
of the tunnel
,was ceative imagery
i
just to help
me get out,
because
I
felt
like
I was
not able to get out.
But the fact that there was another
tunnel there,
it was sort
of a surprise.
A surprise.
Okay.
Anything else you want
to add?
No.
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SG1A
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