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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION XII
1.
(S)
This report provides documentation of
a remote
viewing session conducted
for the purpose
of orienting
a remote viewer
to
the protocol which will be used
in
the remote viewing training program
at Stanford Research
Institute
(SRI),
Menlo Park,
California.
2.
(S)
There was
a high degree of target correlation
in
this
session.
Many of the viewer's
impressions matched
the designated target.
Post-viewing on site analysis
provided the viewer with positive
feedback.
The remote
viewer was extremely tense prior
to the session.
He paced
nervously prior to the relaxation period.
Once he began
the relaxation period he was
able
to calm down.
He stated
that
he was
able
to set aside the problems
of the day and
concentrate on the session.
He had
a very positive feeling
about
the whole experience and this positive
feeling
is
reflected
in the favorable results of
the exercise.
3.
(S)
The protocol used for this session and which will
be used
in later training
is
detailed
in the document
,
Standard Remote-Viewing Protocol
(Local Targets)
by Harold
E.
Puthoff and Russell
Targ,
November
1978.
4.
(S)
Following
is
a transcript of
the viewer's
impres-
sions during the remote viewing session.
At TAB A are
drawings made by the viewer reference his impressions of
the target
site.
At
TAB B are photographs of the target
site.
At TAB
C
is
a post-session
interview.
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TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION XII
#66:
This will be
a remote viewing session.
(Edited
for security.)
PAUSE
#66:
Okay
#44,
it
is now ten o’clock.
#6.5
is approach-
ing the target.
.
He's
at
the target
area.
.
.
He's
observing the target.
.
.
.
Look
at
the target with
him.
.
.
And
as you
do,
describe the area to me.
PAUSE
#44:
(not audible)
#66
:
Okay
.
PAUSE
#44:
A shape.
Its
dark.
Its
complex.
I
don't want
to
try and break
it,
to
draw.
#66
:
Okay
.
#44:
Start out with
a circle and its held
in
a rectangle.
And
its supported on
a post.
But note that Number
One
.
PAUSE
#44:
And
it doesn't seem to be
a complete circle.
Its
a
half
circle.
.
.
held
in
a half square.
.
.
I
need
to clear
it
and try
it
again.
PAUSE
#66:
Okay,
its now five minutes
after.
.
.
you're doing
fine
.
PAUSE
#44:
Prior to One,
I
had the
impression of trees.
.
possibly
a,
I
can't
tell,
but
if
it
is,
they are
on
the
left hand side and quite
far.
PAUSE
Of
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#44
#66
:
#44:
#66
:
#44:
#66
:
#44:
+10
#66
:
#44
#44:
#66
:
+13
#44:
#66
:
Hands
in pockets.
.
.
.mark time.
Okay
PAUSE
Back
in this one again.
I
got
a
large.
.
.
light-
colored.
.
.
awning.
Facing.
.
.
.
And it feels
heavy
Go
on.
Then.
.
.
at
the bottom of the thing.
.
.
looking
up
at
it
.
.
.
but
I
don't
get
the feeling of
(not
audible).
.
.
.
That's
funny.
I
can't
see
it
in
.
.
.
.
a.
.
.
real geometric terms.
Its more
of,
its
a non-linear thing.
Its just
a large mass.
Okay.
Put
note
two.
And scratch and try
it
again.
PAUSE
Describe to me your position
in reference to the
target
PAUSE
(not audible)
PAUSE
There's no place reference to
it.
Feel of
a
.
.
.
PAUSE
Its about
ten minutes after now ....
Relax and
describe the target
to me.
PAUSE
I have the feeling of standing and looking down
.
.
.
a slope.
I
can't
tell whether they're
stairs.
Okay
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#44:
And this
is
a different angle than before.
And
it appears
to be
a little leftish.
.
.
As
if
it
had to turn 45 degrees
and
go down.
Not
far
down,
6 or
feet
.
PAUSE
#44:
Mark that
three.
#66
:
Okay
.
PAUSE
#44:
And the object then would be
to the right.
#66:
Describe the object
to me.
PAUSE
#44:
There's
a chain
type.
.
.
not getting any
.
.
.
PAUSE
#44:
I
can't
find the damn thing.
PAUSE
#66:
Okay,
its about fifteen after.
Back away from the
target.
Move your awareness back away from the
target
and look
at
it
from
a distance.
Let
the
pieces of
the puzzle
fall
together.
Get
a perspec
tive away from the target.
PAUSE
#44:
I
just
don't
see windows and doors. ...
I
don't.
PAUSE
#66:
Don't
try
to make them
.
.
.
#44:
I
know.
The temptation to put
in analytical
windows
and doors
is there.
But
I
don't
get any-
thing but
a black
#66:
Tell me about
the other side of
it
.
.
PAUSE
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#44:
I
don't know,
#66.
It doesn't
seem to have
another side.
#66:
Tell me about the top of
it.
#44:
Flat.
It seems
to be something.
.
.
.
going
on
at the corner that
I
saw,
but
I
can't
determine that.
.
.
.
PAUSE
#44:
I'm not
sure.
I
think
PAUSE
#44:
The
large cubic object
is what,
three?
PAUSE
#66:
You footnoted,
One
is
the hands
in pockets,
Two
is being.
.
.
ah.
.
you
lost
the large object
and
had to
go back again.
And Three
is the looking
down
the slope.
#44:
No,
there was another
image.
First
one.
Which
was that and that
and that.
The circle and the
square on
the post.
.
.
.No,
I
don't know about
that.
.
.
.
And that this was
dark.
And
it
felt
up
.
.
.
.
And there's
a connection.
.
.
And that's
Two.
I need to work on this
one.
And Three
-
(DRAWING)
- That makes
it
come up;
that's wrong.
.
.
.
The images were not
as clear
as
I
had antici-
pated and which
I
had expected.
PAUSE
#44:
But,
I don't see
in.
.
.
Its almost
as
if you
sense
the mass more than
see
it or
feel
it.
#66
:
Okay
.
#44:
Ah.
.
and
I wasn't used to
that.
I was antici-
pating more detail than what appeared.
PAUSE
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#44:
Just adding
a figure for analytical purpose.
To
give you
a sense
of scale
in Number One.
No,
its
bigger than that.
I'll draw the little figure
smaller.
And the post wasn't
that
large.
.
.
.
And,
I'm not
at
all
sure
of
this.
I
guess
I'm
mostly not sure because
I
don't know whether that
circle ends or not
and that bothers me.
PAUSE
#44:
As
if
it was some kind of
a sign,
maybe.
It was
big and dark.
(DRAWING)
I hope to hell,
there's
something out
there.
If the car wouldn't
start
I'm going to
cry.
Ha
ha.
PAUSE
#44:
No,
that's analytical,
I
don't want
to do
that.
That's better.
And then,
the man's head would be
about that
large.
.
.
.
And that's
too big.
Small
.
.
.
That's better.
.
.
.
Okay,
this
is the image
I
' ve
got
.
But ....
#44:
What
I would like try and
do
now.
.
.
all
right.
I
Okay,
we'll
call
this
2a because
I have
a feeling of geometric shape and what
I would like
to
do
is try and put
down
an analytical explanation
of the way
I
think that
shape could be constructed
but
its not part of that because
I
didn't
see
it.
#66:
Okay,
good.
PAUSE
#66:
Feel
free
to
go back and
look at
the target
any
time
.
#44:
If you start out with
a cube.
.
.
(not
audible)
PAUSE
#44:
I
don't.
.
.
(DRAWING).
.
.
I've
got them wrong.
PAUSE
#44:
I
don't understand how
I
can have that
and not
have
this.
Or that.
Well,
on
this one
I
can put
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it
in,
because
this
is.
.
.
this gets
to be
analytical but
it
doesn't
get.
.
.
Its just
the way
I
have
a
feeling.
.
.
and be
this.
.
.
Here we're looking
at
the corner of something.
All
right,
if you started out with
an
inner
cube.
.
.
if
I
started out
drawing correctly
and then you took
a flat
plate.
.
.
a little
flat
plate.
.
.
and affixed them to the
cube,
there
and there.
Then you'd wind up with this corner
detail
.
#44:
And three,
would be over
in this direction.
PAUSE
#44:
I
can't.
.
.
I'll
tell you what
it
reminds me
of.
It
reminds me
of
the size
and magnitude of the
Sage Center
that
I
saw
at Stewart
Air Force Base
that
I
saw years
ago which was just
a big white
concrete cube stuck out
in
the middle of nowhere.
But
I
don't know.
.
.
.
Grading the
images,
I
feel
best
about Number One.
Grading the images
from
one
to
ten,
I'd say
I
feel seven's worth of
confidence
on Number One.
Six on Number Two.
And,
two on Number Three.
And the whole works,
may be
just,
all
analytical.
Nonsense.
For all
I
know.
PAUSE
#44:
Go back and
.
.
.
There's really nothing
I
can
do
to
improve Drawing Number One.
Its up like
that.
#66
:
Okay
.
#44:
Number Two,
I
have already
improved.
And Number
Three.
.
.
well.
.
.If there
is such
a thing as
this mass
and
if there
is
a bank;
then
I
had the
feeling that
a circular concrete area there
and
steps leading down
to
it.
And that's
a
lousy
drawing.
Let's
try
to copy
it.
PAUSE
#44:
I'm done.
#66:
Okay,
good.
It
looks
like we've got some good
drawings
and some good raw descriptions.
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TAB A
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TABB
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TAB C
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POST-SESSION INTERVIEW
REMOTE VIEWING
(RV) SESSION XII
1.
(S)
Post-session interviews are conducted after the
completion
of
a session
(usually the following day)
to
provide the selected remote viewer with the opportunity
to express himself concerning his viewing experience.
2.
(S)
#44
felt very satisfied with his session.
He
was disappointed that
his "resolution" was not better
and that
there were things
at
the target
location which
he did not
detect
at
all.
#44 was able
to relax and
focus his attention very well
in spite of his apparent
nervousness.
#44 uses
a relaxation technique which he
borrowed from Kreskin,
the famous mentalist.
#44 read
about
this technique
in
a book by Kreskin and finds
it
useful
in preparing himself
for remote viewing.
3.
(S)
#44
and #66 seemed to get along well together.
They have
not
developed
a close interpersonal rapport
as
yet.
Their relationship seems
to be one
of mutual
respect
at
this
time.
It
is expected that after
a number
of sessions
a closer interaction will
develop.
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