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CONTENTS
CHAPTER
PAGE
.
INTRODUCTION
2.
IDEOGRAMS
3.
STAGE
I
4.
STAGE
II
5.
STAGE
III
6.
STAGE
IV
7.
STAGE V
8.
STAGE
VI
9.
SAMPLE SESSION STAGES
I
-
VI
10.
FUTURE STAGES
11.
CONCLUSIONS
A.
GLOSSARY
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CHAPTER ONE
INTRODUCTION
The
purpose
of
this
document
is
to
provide
an
overview
of
Coordinate
Remote
Viewing
(.CRV)
Training
Stages
I
through
VI. ^
CRV
is
the
process
by
which
a
person
is
capable
of
"perceiving
information
concerning
a
site
remote
from him
in
location
and/or
time
given
only
the
geographic
coordinates
of
that
location.
It
will
provide
the
basics
that
have
been
learned
in
the
past
three
years
of
training.
One
cannot
expect
to
learn
RV
simply
by
reading
this
document.
CRV must
be
learned
by
doing.
_ Terms
used
in
this
paper
peculiar
to
the
RV
process
are
defined
in
appendix
A.
Stage
Example
I
Major gestalt
Land
surrounded by water,
an
island
II
Sensory contact
Cold
sensation, wind-swept feeling
III
Dimension,
motion, mobility
Rising
up,
pa nor am i c
v iew
,
i s 1 and
outline
IV
General qualitative analytical
Scientific research,
live organisms
aspects
V
Specific analytical
aspects
Biological warfare
(BW)
preparation
(by interrogating signal
line)
site
VI
Three-dimensional
contact,
Layouts,
details,
further analytical
modeling
contact
UNCLASSIFIED
FIGURE
(Chart
listing basics
of
S-I
through
S-VI)
CRV
has
been
divided
into
discrete
achievable
levels
called
stages.
Training
is
presented
in
these
Stages.
(See
Figure
1)
Each
Stage
is
a
natural
progression,
building
on
the
information
received
from
the
previous
Stage.
These
stages
are
tutored
in
order,
with
presentation
of
theory
followed
by
a
series
of
practical
exercises
taking
a
few
weeks
per
stage.
To
learn
to
RV
the
trainee must
do
practical
exercises
in
each
Stage
until
a
level
of
proficiency
is
reached.
Only
then
can
he
proceed
to
the
subsequent
Stage.
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The
key
to
the
lower
stages
of
the
RV
process
is
the
recognition
that
the
major
problem
in
attempts
to
remote
view
is
the
desire
to
visualize
the
site.
When
the
viewer
attempts
to
visualize
the
site
he
usually
stimulates
memory
and
imagination.
As
the
viewer
becomes
aware
of
the
first
few
data
bits,
there
appears
to
be
a
largely
spontaneous
and
undisciplined
attempt
to
extrapolate
and
"fill
in
the blanks."
This
is
presumably
driven
by
a
need
to
resolve
the
ambiguity
associated
with
the
fragmentary
nature
of
the
emerging
perception
(see
glossary)
.
The result
is
a
premature
internal
analysis
and
interpretation
on
the
part
of
the remote viewer.
(For
example,
an
impression
of
an
island
is
immediately
interpreted
as
Hawaii.)
This
is
called
Analytical
Overlay
(AOL)
(see glossary).
Investigation
of
these
overlay
patterns
by
SRI-International
led
to
the
model
of
RV
functioning
shown
in
figure
THRESHOLD
OF
AWARENESS
UNCLASSIFIED
FIGURE
(Schematic
representation
of
remote
viewer
response
to
CRV situation)
Upon
receiving
the
stimulus,
or
coordinates
the
psychic
signal
reaches
the
threshold
of
awareness,
the
point
where
the
signal
begins
to
be
perceptible.
When
the
signal
impacts
on
this
threshold
it
is
perceived
by
the
viewer
momentarily.
As
this
signal
fades
away
the
viewer,
using
the
first
few
data
bits
received
from
the
initial
signal,
draws
on
memory
or
imagination
to
"create
a
picture"
of
the
site.
This
"picture"
is
created
from
too
few
data
bits
and
consequently
bears
little
resemblance
to
the
actual
site.
This
is
called
f ill-in-the-blanks
overlays
on
the
above
figure.
Success
in
handling
this
complex
process
requires
the
viewer
to
"grab"
incoming
data
bits
while
simultaneously
attempting
to
control
the
overlays.
Stage
I
and
Stage
II
training
is
designed
to deal with
this
problem.
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Observation
of
the
training
program
indicates
that
remote
viewing
is
a
learnable
skill.
Specifically,
it
appears
that.
a
viewer
trained
in
this
CRV technique
can
be
expected
to
exhibit
a
performance
curve
as
depicted
in
figure
3.
UNCLASSIFIED
TIME -
FIGURE
(Idealized
per formance-over - t ime curve)
After
being
exposed
to
the
basic
concepts
of
the
training
program,
the
viewer
typically
exhibits
a
few
sessions
of
very-high
quality.
This
is
known
as
the
"first-time
effect.
This
quality
cannot
be maintained
and
is
followed
by
dropping
to
a
very
low
level
of
performance.
At
this
point
learning
begins.
As
learning
takes
place,
the
session
quality
improves.
Improvement
continues
until
a
plateau
is
reached.
When
this,
plateau
is
maintained
for
five
to
six
consecutive
sessions
it
is
time
to commence
training
in
the next
Stage.
As
indicated
earlier,
the
CRV
training
procedure,
is
structured
to
proceed
through
a
series
of
stages
hypothesized
to
correspond
to
stages
of
increased
contact
with
the
site.
These
stages
are
tutored
in
order,
with
presentation
of
theory
followed
by
a
series
of
practical
exercises
taking
a
few
weeks
per
stage.
The
viewer
progresses
through
the
stages,
concentrating
only
on
the
elements
to
be
mastered
in
each
stage
before
proceeding
to
the
next.
The
trainee
should
not
be
given
information
on
stages
beyond
the
specific
stage
in
which
he
is
being
trained.
This
would
challenge
the
trainee
to
progress
too
rapidly.
Without
a
thorough
understanding
of
each
stage,
progress
into
successive
stages becomes
very difficult.
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The
time required
per
stage
is
only
an
estimate.
Training
continues
until
the
appropriate
plateau
is
reached.
The
exact
number
of
sessions
is
dependent
on
the
needs
of
the
specific
viewer
trainee.
The
quantity
of
sessions
a
trainee
requires
to
complete
a
particular
stage
is
not
necessarily
indicative
of. the
his
potential
as
a
viewer.
Individual
differences
in
a
trainee
may
impede
progress
in
one
stage
while
it
may
enhance
training
in
other
stages.
In developing
this
CRV
training
program,
it
was
found
that
an
experienced
viewer
applying
the
proper
techniques
tends
to
contact
the
site
in
sequential
stages.
The
contents
of
these
stages
are
shown
in
figure
1,
and
the
techniques
employed
are
described below.
STAGE
I
MAJOR
GESTALT
In
Stage
I
the
viewer
is
trained
to provide
a
quick -react ion
Fesponse
to
the
reading
of geographic
coordinates
by
the
interviewer.
The
coordinates
are
expressed
in
degrees,
minutes,
and
seconds
when
possible.
The
response
takes
the
form
of
an
immediate,
primitive
"squiggle"
on
paper.
This
"squiggle"
is
known
as
an
ideogram.
The
ideogram, captures
the
overall
feeling/motion
of
the
gestalt
of
the
site
(e.g.,
fluid/wavy
for
water).
This
response
is
kinesthetic
and
not
visual.
In
Stage
I
visual
images
are noted
and
labeled
as
AOL.
STAGE
II
SENSORY
CONTACT
In
Stage
II
the
viewer
is
trained
to
become
sensitive
to
sensations
associated
with
the
site.
These
sensations
concern
sounds,
smells,
tastes,
textures,
temperatures,
and
energies
at
the
site.
Although
colors
are
perceivable,
Stage
II
signals
are
essentially
nonvisual
in
nature.
As
in
Stage
I,
visual
images
are
noted
and
declared
as
AOL.
STAGE
III
DIMENSION,
MOTION,
AND MOBILITY
In
Stages
I
and
II,
data
typically
appear
to
emerge
is
fragmented
data
bits.
In
Stage
III
we observe
the emergence
of
a broader
concept
of
the
site.
With
Stage
I
and
II
data
forming
a
foundat ion ,. more
detailed
data
and dimensional
aspects
such
as
length,
height,
and
distances,
begin
to
appear.
This
increased
contact
is
known
as
a
"widening
of
the
aperture".
At
this
point
contact
with
the
site
appears
sufficiently
strengthened
that
the
viewer
begins
to
have
an overall appreciation
of
the
site
as
a
whole.
This
is
known
as
an
"aesthetic
impact".
After
the
viewer,
experiences
an
"aesthetic
impact"
the
urge
to
draw
the
site
begins.
These
drawings
are
expressed
in
the
form
of
sketches,
. trackers
(outlines
of
the
general
configuration
of
the
site),
and
additional
spontaneous
ideograms.
The
final
product
of
Stage
I
through
Stage
III
training 'is
the
recognition
of
the
overall
gestalt
and
physical
configuration of
the
site.
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STAGE
IV
GENERAL QUALITATIVE ANALYTICAL
ASPECTS
Because
of
the
increased
site
contact
that occurs
in
Stage
III,
in
Stage
IV
data
of
an analytical
nature
begin
to
emerge.
Contained
in
Stage
IV
data
are
elements
that
go
beyond
normal
observational
concepts.
The
ambience
of
the
site
such
as
military,
religious,
technical,
or
educational,
can
be
expressed
in
Stage
IV.
Cultural
factors
such
as
Soviet,
Muslim,
or
Arabic,
and
functional
indicators
such
as
power
generation,
BW research,
or
human
research,
can
also
be
reported accurately
in
Stage
IV.
Stage
IV
is
therefore
the
point
where
the viewer begins
to become operational.
STAGE
V
SPECIFIC
ANALYTICAL
ASPECTS
BY
INTERROGATING
THE
SIGNAL
LINE
Many
complex bits
of
data
are
produced
during
Stage
W.
If
during
Stage
IV
the
viewer
attempts
to
probe
or
question
the
significance
of
this
data
it
usually
results
in
the
production
of A0L
.
The
analytic
functions
of
the
viewer
try
too
hard"
and
fill
in
with
logical
but
incorrect
data.
In
Stage
V
however,
special
techniques
are
used
to
produce
the more
detailed
information without
triggering A0L.
STAGE
VI
THREE DIMENSIONAL
CONTACT AND MODELING
In
Stage
VI
the viewer
uses
various materials
to
produce
three
dimensional
representations
of
the
site
or
specific
elements
at
the
site
location.
Materials
such
as
clay,
cardboard,
and
poster
paper
can
be
used
to
produce
models
of
the
specific
structure
at
the
site
as
well
as
the
general
configuration
of
the
surrounding
area.
This
construction
is
done
with
"feeling".
The
use
of
these materials
is
not
simply
an
attempt
to
render
a
more
exact
representation
of
the
site
than
can
be
done
verbally,
or
by means
of
drawing.
The
kinesthetic
activity
appears
to
both
quench
AOL
formation
associated
with
purely
cerebral
processes,
and
to
act
as
a
trigger
to
produce
further
analytical
content
of
the
site,
..even
concerning
aspects
not
being
specifically
addressed
by
the
..even
concerning
modeling
.
Detailed
included
in
the
information
concerning
these
training
stages
is
following
chapters.
Additionally,
hypothesized
subsequent
stages
are discussed
in
chapter
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CHAPTER
IDEOGRAMS
An
ideogram
is
the
kinesthetic
response
of
the
viewer
to
his
perception
of
the
site.
Ideograms
are
the basis
for
the
CRV
training
program.
Ideograms
are
taught
to
the
trainee
in
Stage
I.
Without
mastering
the
ideogramic
process
the
trainee
cannot
proceed
to
subsequent
stages.
The
ideogram
is
the
foundation
for
all
other
stages
in
CRV.
In
CRV
ideograms
are
produced
in
response
to
the
reading
of
the
coordinate
of
the
site.
This
ideogram
is
produced
as
the
viewer
comes
into
contact
with
the
signal
line.
The
ideogram
is
composed
of
three
portions:
a.
the
ideogram
b.
A. -the
feeling/motion
c.
B.-the
automatic analytical
response
The
ideogram
is
expressed
as
a
"squiggle"
on
paper.
It
is
produced
by
a
spontaneous
reaction
of
the
viewer
to
the
geographic coordinate
of
the
site.
The
viewer
writes
the coordinate
which
is
spoken
to
him
by
the
monitor.
When
this
is
completed
he
places
his
pen
point
on
the
paper
keeping
his
arm
relaxed
so
that
when
the
unconscious,
almost
imperceptible,
response
is
experienced
the
pen
will
produce
a mark
on
the
paper.
This mark
is
the
ideogram.
The
second
portion
of
the
ideogram
is
the
feeling/motion.
The
feeling/motion
incorporates
two
parts.
The
feeling
that
the
viewer
is
experiencing
while
he
is
drawing
the
ideogram
and
the
motion
that
the
pen
makes
as
the
ideogram
is
being
produced.
There
is
no
single
word
in
the
English
language
which means
both
feeling
and motion hence
the phrase
feeling/motion.
The
feeling
expresses
the
basic
feeling
the
viewer
would
feel
if
he
were
actually
at
the
site.
Examples
of
this
are:
hard,
fluid,
manmade,
smooth,
etc.
There
are
five
basic
categories
of
feelings.
These
are:
solid,
liquid,
airiness,
energy,
and
temperature
(also
a
Stage
II).
The
motion
expresses
the
movement
of
the
pen
as
the
ideogram
is being produced.
Examples
of
this
are:
erratic,
wavy,
up,
down,
across,
etc.
It
is
important
that
the
ideogram
only
be
expressed
in
terms
of
the
feeling/motion
and
not
in
terms
of
its
visual
appearance.
Do
not
look
at
the
ideogram
and
expect
to
see
something
in
it.
This
will
lead
to
an AOL-DRIVE
(see glossary).
The
feeling/motion
is
expressed
on
paper
as
an
A-
(example:
A-rising
solid).
This
A-
is
on
the
right-central
portion
of
the
paper
(see
example)
.
The
final
portion
of
the
ideogram
is
the
automatic
analytical
response.
This
is
the
analytical
response
the
viewer
has
while
or
immediately
after
drawing
the
ideogram
(example:
land,
water,
building,
etc.).
These
responses
should
be
very
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general
and
immediate.
The
viewer
should
not
"think
abouc
producing
a
response.
If
it
is
not
truly
automatic
then
the
viewer
should
simply
state
that
there
is
no
response.
It
is
completely
acceptable
not
to
produce
an
automatic
analytical
response.
.
,
„
„
„
The
automatic
analytical
response
is
expressed
as
(example:
B-land)
.
This
B-
should
be
immediately
below
the
A-
If
the
viewer
has
no
response,
he
should
verbalize,
no
B
,
ar
'think"
about
write
B-
a
b
c
d
A
idea
There
are
four
types
of
a.
single
b.
double
c.
composite
d.
multiple
A
single
ideogram
is
a
ideograms
:
one-line
drawing
which
expresses
A single
ideogram should
have
one
A-
and
one
B
A
A-up
sharp down
B-mountain
The double
ideogram
is
a
drawing
of
two
similar
lines
that
represent
one
idea
which
may
have
as
many
as
five
different
parts.
It may require
as many
as
five different
A
s
and
B
s.
A-shifty
solid
\
B-land
—.
\.
A-flowing
fluid
^
^
B-water
\
N.
A-hard
solid
B-rock
The
composite
ideogram
is
a
drawing
of
three
or
more
identical
or
similar
lines
that
represent
one
idea.
A
composite
ideogram should have
only
one
A and
B.
A-flowing
fluid
B-water fall
Multiple
ideograms
are
a
combination
of
lines
_ which
represent
any
number
of
ideas.
One
A-
and
B-
is
required
for
each
idea
the multiple
ideogram expresses.
A-up hard
down
A
B-mountain
/
\
A-flowing
fluid
/
rv.
B-river
)
A-circling
fluid
J
B-lake
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This
basic
understanding
of
ideograms
is
necessary
before
proceeding
to
the
following
chapters.
Chapters
through
discuss
the
six
Stage
CRV
process
in
detail.
Chapter
nine
provides
an example
of
a completed CRV training
session.
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CHAPTER
STAGE
I
MAJOR GESTALT
Stage
I
is
the
most
important
stage
in
the
CRV
training
program.
Stage
I
is
also
the
most
difficult
to
train.
Stage
I
is
the basis
for
the entire CRV process.
In
chapter
we
discussed
Ideograms
and. how
they
are
formed.
The
ideogram
initially
appears
to
provide
little
data.
However,
with
more
detailed
inspection
one
finds
the
ideogram
posses
all
the
basic
information
necessary
to
proceed
on
to
the
operational
data
that
we
require.
This
information
is
contained
in
the
feeling/motion
of
the
ideogram.
#
In
teaching
CRV
we
are
not
teaching
the
trainee
to
be
psychic.
We
are
not
teaching
him
to
receive
the
signal..
We
are
teaching
him
the
proper
format
to
be
used
in
objectifying
the
data
he
perceives
upon
receiving
the
coordinate.
This
is
known
as
the
session
"Structure".
In
this
CRV
technology
we
believe
that
as
long
as
the
viewer
maintains
proper
control
of
his
structure
the
data
can
be
considered
generally
correct.
It
must
be
stressed
to
the
viewer
at
all
times
that
only
by
monitoring
his
structure
can
he know
the value
or
correctness
of
the
data
he
is
producing.
The
best
results
are
produced
when
the
viewer
ignores
the
content
of
the
data
and
concentrates
on
the
structure.
This
structure
is
always
controlled by
the viewer.
The
following
information
concerning
session
structure
is
an
integral
part
of
Stage
I.
Structure
and
Stage
I
must
be
taught
concurrently,
hence
a
large
portion
of
this
chapter
is
devoted
to
structure.
However,
the
structure
learned
in
Stage
I
is
used
through
out
the
CRV. process.
Structure
is broken
into
two
areas:
The
interaction
of
the
interviewer
and
viewer.
The
proper
sequences
of
steps
taken
by
the
viewer
to
grasp
the
ideograms
and objectify
the
data.
The
interaction
of
the
interviewer
and
viewer
should
be
kept
to
a minimum
to
prevent
inadvertent
cuing
or
extemporaneous
stimulus
which
might
interfere
with
the
viewer's
ability, to
retrieve
and
objectify
the
signal.
In
objectifying
the
signal
the
viewer
expresses,
on
paper,
the
perceptions
. or
processes
taking
place
in
his
head.
All
superfluous
talking
should
be
saved
for
the
completion
of
the
session.
The
.date/time,
coordinates
or
alternate
cuing
data,
and
specific
feedb.ac
statements
are
the
only
inputs
the monitor
should make
during
the
conduct
of
the
session.
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There
are
three
classes
of
CRV
sessions.
These
classes
deal
with
the
feed-back
given
or
not
given
to
the
viewer
during
the
session.
These
three
classes:
A,
B,
and
C,
are
discussed
below.
(U)
PROTOCOLS
C lass
C
_ ^
[M
...
.
n
Used
in training
sessions
*
Monitor
is knowledgeable
of
the
site;
therefore
session carried
out
under nonblind conditions.
*
Intrasession
feedback given
to facilitate
learning process.
*
Session results
do not stand alone
as proof -of -pr inc ip le because
of
cueing possibilities.
*
Evaluation of
RV results
inapplicable;
performance curve measures,
e.g.,
number
of coordinate
iterations required,
only.
C lass
B
_
•
Used
in confirmation,
evaluation,
•
Monitor
is
blind
to
site,
•
Feedback given only post-session.
•
Statistical
techniques applicable
to RV accuracy assessment.
Class A
^
^
•
Used
in operational
RV
,
simulations.
•
Monitor
is blind
in majority
of
cases;
nonblind
analysts
or
ob-
servers occasionally present.
•
Feedback conditions variable,
depending
on task requirements.
•
Evaluation
techniques
as determined by user.
SECRET /NOFORN
The
majority
of
the
training
sessions
are
Class
C,
with
feedback.
It
is
during
training
the
viewer
trainee must
learn
to
differentiate between
the
emerging, signal
and
AOL.
This
is
done
by
immediate
feedback
during
training.
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To
begin
a
session
in
Stage
I
the
viewer
trainee
writes
his
name,
location,
and
interviewers'
name
on
the
upper
right
corner
of
the
paper.
When
this
is
complete
the
interviewer
states
the
date/time
group
and
the
viewer
writes
this
below
the
other
information.
This
administrative
data
objectifies,
in
the
mind
of
the
viewer,
the
conditions
(date,
time,
and
location)
for
the
beginning
of
the
session.
The
coordinates
objectify
the
specific
site
for
that
session.
The
viewers
job
is
to,
through
proper
structure
control,
describe
the
objects
and
activities
at
that
site.
After
this
is
accomplished
the
viewer
momentarily
checks
himself
for^ any
problems,
physical
or
emotional,
which
might
interfere
with
his
ability
to
RV.
These
inhibiting
factors
are
called
personal
inclemencies
(PI).
All
PI
should
be
declared
and
objectified
by
writing
it
across
the
top
of
the
page
(example:
PI-
experiencing back
pain).
When
problems
are
being
experienced
with
bodily
functions,
the
mind
is
preoccupied
and
the
viewer
cannot
give
his
complete
attention
to
the
task
at
hand.
If
the
PI
is
such
that
it
may
cause
too much
attenuation
of
the
signal,
then,
if possible,
the
session
should
be
aborted.
When
the
PI
is
no
longer
a
factor
then
the
session
can
be
attempted.
When
the
viewer
feels
confident
and
ready
to
grasp
the
signal
he
places
his
pen
on
the
paper
in
the
appropriate
place
for
the
coordinates.
Upon
seeing
this,
the
monitor
reads
the
coordinates
slowly
to
the viewer
who writes
them.
Immediately
after
writing
the
coordinates,
the
signal
will
present^
itself
in
the
form
of
an
ideogram.
The
A- (f eel ing/mot ion)
for
each
part
of
the
ideogram
is
stated
orally
to
the
interviewer
as
it
is
objectified
on
the
paper.
The
B- (automatic
analytical
response),
if
present,
is
also
declared
both
orally
and
in writing.
.
If no
B-
is
present,
this
too
should
be
declared.
This
is
considered
a
completed
Stage
I
sequence.
Ideally
the
ideogram
and
the
A-
produce
a
B-
(I+A=B).
The
coordinates
may
be
restated
any
number
of
times,
at
the
viewers
discretion.
After
an
I
,
A,
B
sequence
is
completed,
the
next
reading
of
the
coordinate
should
produce
a
different,
more
detailed,
ideogram.
Only
after
the
I,
A,
B
sequence
is
properly
completed,
however,
will
this
new
ideogram
come.
If
during
this
process
the
same
ideogram
is
produced
with
each
iteration
of
the
coordinate
it
indicates
the
ideogram
has
been
incompletely
or
incorrectly
interpreted.
This
means
the
viewer
must
take
more
care
in
producing
the
A-(feeling
/motion).
Often
after
the
A-
has
been
thoroughly
expressed
the
viewer
will
be
able
to
provide
a
B-.
Once
the
ideogram
has
been
correctly
interpreted
the
next
ideogram will
present
itself.
Ideograms
come
in
sequential
order
from
the
main
gestalt
of
the
site
to
the
smaller
details.
When
an
ideogram
is
correctly
and
completely
interpreted
another
will
present
itself
offering more
information about
the
site.
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The
example
below
Indicates
the
proper
Stage
I
format
and
is
considered
a
completed
Stage
I
session.
VIEWER NAME
FT MEADE
INTERVIEWER NAME
DATE /TIME GROUP
37°43
’ 17
. 2 "
122° 42
' 11.
N
"
E
Site
End
Time
A-rising hard
B-mountain
Each
consecutive
entry
on
the
paper
is
entered
below
the
previous
entry.
This
provides
a
chronological
history
of
the
data.
If,
during
the
session
it
is
noted
that
the
viewer
is
out
of
structure,
this
chronological
history
will
allow him
to
review
the
data
and
to
correct
the
structure.
At
the
conclusion
of
the
session,
an
analyst,
by
reviewing
the
session
structure,
can
know
the reliability
of
the data.
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During
Class
C
(training)
sessions
the
interviewer
will
provide
the
viewer
with
immediate
feed-back
for
each
element
of
data
the
viewer
provides.
This
feed-back,
in
order
to
prevent
inadvertent
cuing,
is
in
the
form
of
very
specific
statements.
These
statements
and
their
definitions
follow:
Site
(S )
This
indicates
the
site
has
been
correctly named
for
the
specific
stage
being
trained
(manmade
structure
for
Stage
I,
bridge
for
Stage
III).
Site
indicates
that
the
session
is
completed
Correct
(C )
This
indicates
that
the
information
is
correct
in
context
with
the
site
location,
but
is
not
sufficient
to
end
the
session.
Probably
Correct
(PC )
This
statement
means
that
the
interviewer
,
due
to
limited
feed-back
materials,
while
not
sure,
believes
that
the
information provided
is
correct.
Near
(N )
This
indicates
that
the
information
provided
is
not
an
element
of
the
specific
site,
but
is
correct
for
the
immediate surrounding
area.
Can't
Feed-back
(CFB )
This
statement
indicates
that,
due
to
limited
feed-back
materials,
the
interviewer
cannot
make
a
judgment
as
to
the
correctness
of
the
data.
It
means
neither
correct
nor
incorrect.
Negative
feed-back
is
not
given.
When
the
viewer
incorrectly
states
an
element
of
information
no
feed-back
is
given
During
the
session
the
viewer
writes
the
abbreviation
(see
above)
of
the
feed-back
next
to
the
data.
This
allows
the
viewer,
during
training,
to
review
the
correct
elements
and
produce
a
summary
which
describes
the
site.
The
session
continues,
during
training,
until
the
interviewer
responds
with
the
feed-back
of
Site.
At
any
time
during
the
session
or
upon
completion
of
the
session,
the
viewer
can
complete
a
summary
of
the
information
he
has
produced.
This
often
is
helpful
in
creating
a
"picture"
of
the
site
in
the mind
of
the
viewer.
During
all
sessions
beyond
Stage
IV,
and
for
all
operational
sessions
a
summary
should
be
included
at
the
end.
This
summary
should
be
written
in
the
words
of
the
viewer
and
should
include
all
data
which
was
produced
during
the
session.
When
the
viewer
provides
the
required
detail
for
the
session
to
be
considered
complete
the
interviewer
will
indicate
this
by
feeding
back,
site,
end.
The
viewer
objectifies
this
on
the
paper
below
the
last
entry
on
the
paper.
When
this
is
complete
the
interviewer
states
the
time
for
the
completion
of
the
session
and
this,
too,
is written by
the viewer.
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To
this
point
we
have
discussed
the
ideal
session,
but
what
happens
when
things
don't
go
ideally?
We
have
a
method
for
handling
that
too.
When
things
are
going
well
we
keep
working,
but
when
they aren't
we
take breaks.
There
are
specific
types
of
breaks
and
appropriate
times
to
take
them.
When
a
break
is
taken
the
viewer
objectifies
the
type
of
break
on
the
paper
and
orally.
The
reason
the
viewer
called
the break
is
also
stated
and
written.
The
brakes
and
when
to
use
them
follows:
Break
A break
can
be
taken
anytime
the
viewer
feels
the
need.
This
break
should
not
be
taken,
however,
when
the
signal
is
flowing
smoothly.
If
the
break
is
going
to
be
more
than
a
pause
this
should
be
indicated
(example:
minute
break).
If
the
break
is
an extended break
the
ending
time
should
be
annotated
on
the
paper
and
the
resume
date/time
should
be
entered
(example:
Resume-date/time).
Miss _ Break
A
miss
break
is
taken
anytime
the
viewer
misses
the
ideogram after
the
presentation
of
the
coordinates.
A
miss
break
can
also
be
taken
if
the
viewer
misses
the
feeling
and/or
the motion.
The miss break
is
beneficial
in
that
it
tells
the
system
that
the
signal
was
missed
and
to
stop
looking
for
it.
If
this
is
not
done
the
brain
will
produce
an
AOL
rather
than
admit
it missed
it.
After
a moments
pause
the
viewer
should
retake
the
coordinates
and
proceed.
Any
number
of
miss
breaks
can
be
called.
There
is
no
shame
in
missing
the
signal,
the
shame
is
in
not
calling
the break
and
allowing AOL
to
be produced.
AOL
Break
An
AOL
break
is
called
any
time
the
viewer
realizes
He
has
received
an
AOL.
The
viewer
should
call
an
AOL
Break
and
objectify
the AOL
(example:
AOL
Break-
Devil's
Tower).
This
break
acknowledges
that
it
was
an
AOL
and
objectifies
it
to
clear
it
from
the
system.
The
viewer
should
remain
on
break
until
the
AOL
"goes
away".
This
may
take
a
few
seconds
or
a
few
,
minutes.
There Av r imes
,
however,
the
AOL
may
linger
and
consequently
an
extended
break
may
be
appropriate.
AOL
are
recognized
by
three methods:
If
the
signal
becomes
a
bright,
motionless,
visual
image
it
is
considered
an
AOL.
If
the
data
is
qualified
it
is
considered
an
AOL.
Statements
such
as:
it
is
like...,
I
think
it's,...,
or
maybe
it's...,
are
all
AOL.
It
is
also
considered
an
AOL
if
there
is
a
stutter,
pause,
or
hesitation
accompanying
the
data.
If
the
statement
is
totally
unjustified
by
the
previous
data
it
is
considered
an
AOL.
( An
example
is
if
the
viewer
has
an
A-
of rising
hard
and
calls
the
site water.
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AOL Drive
Break
(AOL-D break)
An
AOL-D break
is
similar
to
an
AOL break
except
that
an
AOL-D
indicates
that
the
viewer
did
not
call
an AOL break
in
time
and
has
been
working
with
an
AOL.
This
AOL
is
"driving"
the
system,
hence
the
name.
When
the
viewer
realizes
he
is
operating
with
a
AOL-D
he
must
go
back
in
his
data
and
locate
the
AOL,
declare
it,
and
break
it
from
the
system.
All
data
from
that
point
is
suspect
and
should
not
be
relied
upon.
With
an AOL-D
a
longer break
is
usually required.
Bi-location
Break
(BIL0
Break)
To
properly
RV
a
site
the
viewer
must
be
bi-located,
that
is,
he
must
have
his
perceptions
at
the
site
while
still
occupying
physical
space
in
the
viewing
room.
When
the
viewer
realizes
he
is
not
maintaining
this
bi-location
he must
call
a
BIL0 Break.
If
the
viewer
is
too much
in
the
viewing
room,
as
evidenced
by
chit-chat
with
the
interviewer,
he
will
not
be
perceiving
much
data
from
the
site.
Conversely
if
he
is
too
into
the
site,
as
evidenced
by
long
periods
of
silence,
he
will
be
perceiving
the
data
but
he
won't
be
reporting
it.
After
a momentary break
the
viewer
should
pick
up where
he
left
off.
Too Much
Break
(TM Break)
A
TM
Break
is
called
when
the
viewer
receives
too
much
data
to
debrief.
If
he
tries
to
work
through
it
a
confusion
will
result.
After
a
short
break
the
viewer
should
continue
from where
he
left
off.
Confusion
Break
(CONF
Break)
A
CONF
Break
is
called
anytime
the
viewer
Ts
confused.
Without
acknowledging
this
confusion
the
viewer
may
incorporate
the
confusion
into
the
session.
The
viewer
should
declare
the
confusion
and
objectify
it
so
it
can
be
removed
from
the
system.
A break
should
be
taken
until
the confusion
is
gone.
By
the
use
of
appropriate
breaks
the
viewer
is
able
to
control
his
structure.
As
we
have
stated
earlier,
it
is
the
control
of
structure
that
we
are actually
teaching.
Stage
I
is
taught
in
two
phases.
Stage
I,
phase
I
uses
coordinates
that
represent
only
one
large
gestalt.
Examples
of
this
are
large mountain
ranges,
large
cities,
and
coordinates
in
the
middle
of
the
ocean.
Stage
I
phase
II
are
more
detailed
sites
such
as
rivers
through
mountain
ranges,
cities
on
the
ocean,
or
small
islands.
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CHAPTER
STAGE
II
SENSORY CONTACT
In
Stage
I,
the
signal
line
is
noticeably
of
brief
duration
and
extremely
narrow
in
aperture.
As
the
viewer
continues
in
contact
with
the
signal
line,
however,
the
aperture
widens
somewhat,
and
a
broader,
slower
signal
is
received.
This
signal
consists
of
those
sensations/feelings
which
the
viewer
might
bodily
experience
were
he
physically
at
the
site.
These
sensations
are
the
signals
processed
during
Stage
II.
Such
basic
things
as
tastes,
smells,
tactile
sensations
such
as:
textures,
sounds,
colors,
temperatures,
and
energies
such
as:
magnetics,
radiation,
electricity,
etc.
are
received
in
Stage
II.
Stage
II
is
unique
in
that
the
sensations
produced
usually generate
little
or
no
AOL because
they
are
fundamental
data
bits
that
require
no
analysis
or
interpretation
by
the
brain.
These
data
bits,
which
are
informally
designate
"Stage
IIs",
present
themselves
in
clusters
upon
the
proper
decoding
of
the
ideogram,
A.,
B.
sequence.
A
cluster
of
Stage
IIs
may
consist
of
two
or
more
sensations.
A
single
Stage
II
is
called
a
"floating
Stage
II"
and
is
not
as
reliable
as
those
that
come
in
"clusters".
These
clusters
tend
to
represent
different
aspects
of
the
site,
i.e.
a
cluster
for
a
building,
for
surrounding
terrain,
for
water
present
at
the
site,
or
some
other
significant
geographical
or
artificial
feature,
etc.
Separate
series
of
Stage
IIs
may
be
obtained
for
each
separate
I,
A.,
B.
sequence.
After
the
viewer
has
produced
a
B-
(or
acknowledged
there
is
no
B-),
the
Stage
II
signals
may begin
to
flow.
To
objectify
these
signals
the
viewer
writes
"S-2"
on
the
mid-point
of
the
paper
(see
example
below),
and
writes
the
Stage
II
signals,
in
column
form,
as
they present
themselves.
24° 44 ’18"
N
122° 13 ’47"
E
gray
white
dry
textured
gritty
A-rising angle
manmade
B-bu i Id ing
The
process
of
aperture
expansion
seems
to
function
on
a
continuum,
and
as
one
progresses
into
Stage
II,
the
aperture
widens.
This
produces
a
new
category
of
Stage
IIs
known
as
dimensionals
.
These
dimensionals
are
the
beginning
of
Stage
III
and
are discussed
in
the next
chapter.
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Because
Stage
II
signals
are
mostly
normal
bodily
sensations
which
we
experience
daily,
Stage
II
is
one
of
the
easiest
and
fastest
stages
to
teach.
Stage
II
signals
at
first
seem
to
lack
any
real
value.
They
are
. extremely basic
and
express
little
about
the
true
nature
of
the
site.
It
is
important
to
realize
the
viewer
must
progress
through
the
Stage
II
signals
before
he
will
experience
a
widening
of
the
aperture".
This
expanded
contact
with
the
site
leads,
as
is
discussed
in
the
next
chapter,
to
aesthetic
impact
which
is
the
element
of
CRV
which
truly
leads
to
the
production
of
information
of
intelligence
value.
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CHAPTER
STAGE
III
DIMENSION,
MOTION,
AND MOBILITY
As
discussed
earlier,
the
purpose
of
Stage
I
is
to
teach
the
viewer
the
proper
session
structure
and
to
train
him
to
produce
ideograms
and
process
As
and
Bs
.
Stage
II
teaches
the
viewer
to
process
sensations
perceived
from
the
site.
Using
the
data
produced
by
these
Stages
as
a base
the
viewer
can move
into
Stage
III.
Stage
III
allows
the
viewer
to
achieve
a
broader,
more
dimensional
contact
with
the
site.
This
improved
contact
allows
the
viewer
to
sketch
the
physical
characteristics
of
the
site.
Stage
III
is
broken
into
five
separate
components
which
are
taught
as
a
package.
However,
the
ultimate
goal
of
Stage
III
is
TOTAL COMMAND OF STRUCTURE.
Stage
III
is
composed
of
five
elements:
Aesthetic
Impact
(AI):
An
AI
is
the
point
where
the
viewer
is
so overwhelmed
with
his
perceptions
of
the
site
that
he
is
unable
to
report
them.
An
AI
occurs
after
three
to
four
dimensional
descriptors
are
reported
in
Stage
II.
An
AI
is
indicated
by
a
shift
in
the
viewers'
mood
or
emotion.
An
AI
is
defined
as
a
statement
which
describes
how
the
site
makes
the
viewer
feel,
or
how
the viewer
feels
about
the
site,
i.e.
lonely,
magnificent,
or
"don't
like
it
here".
AI
is
one
of
the
more
difficult
aspects
of
CRV
to
understand
and
express.
Some
AIs
can
be
very
powerful,
some
very
weak,
and
some
very
subtle.
The
AI
must
be
recognized
and
declared
as
AI
BREAK.
If
an
AI
goes
undeclared
it
can
produce
AOL
colored
by
AI
,
bringing
about
AOL-Drive
or
peacocking
(see glossary).
AI
are
produced
after
the viewer
has
reported
dimensionals
,
which
indicates
a
change
in
aperture
has
occurred.
After
the
viewer
gets
four
or
more
dimensionals,
he
should
look
for
the
AI
,
although
it
may
occur
after
only
two
or
three.
Dimensionals
will
be
forced
from
Stage
II
until
an
appropriate
AI
is
declared.
If
the
AI
keeps
coming
back
it
has
not
been
correctly
resolved.
The
viewer
must
return
to
where
the
AI
was
first
experienced
and
inspect
it
to
see
how
it made
them
"feel".
This
feeling
should
then
be
expressed
as
an
AI
Break.
This
corrected
AI
will
produce
better
site
contact
and
in
turn
lead
to
the
other
elements
of
Stage
III.
Enhanced Dimensional
Contact
:
A dimension
is
an
extension
in
a
s ingle
line
or
direction
as
length,
breadth,
thickness,
or
depth.
A
line
has
one
dimension:
length.
A
plane
has
two
dimensions:
length
and
breadth.
A
solid
has
dimensions:
length,
breadth,
and
thickness.
A dimension
is
an
aspect
of
the
site.
Dimensionality
is
dependent
on
the
view
point
of
the
viewer
and
is
not
an
aspect
of
the
site.
Dimensions
are
expressed
as:
a.
Horizontal:
A
horizontal
line
is
parallel
to
the
horizon,
opposite
of vertical.
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b.
Vertical:
A
vertical
line
is
perpendicular
to
the
horizon,
the
opposite
of horizontal.
c.
Diagonal:
A
diagonal
line
is
the
point
of
intersection
of
two
lines
of
a
figure.
A
diagonal
is
neither vertical nor
horizontal.
d.
Mass:
A
quantity
of
matter
that
forms
a
body
of
indefinite
shape;
usually
matter.
Whatever
forms
a
body
is
usually made
up of matter.
Mass
indicates
overall
size.
e.
Volume:
Volume
is
a quantity,
bulk,
mass,
or
amount.
The
addition
of mass
or
volume
provides
a
third
dimension
to
the
site.
This
indicates
a
change
in
aperture,
and
should
produce
an
AI
.
If
the
AI
is
not
present,
the
viewer may need
another
dimension.
f
.
Space:
The
absence
of
any
of
the
above.
Empty
distance
;
an
interval between
things.
Motion
and Mobility
:
Motion
is
the
act
or
process
of
moving;
the
passage
of
a
body
from
one
place
to
another.
Motion
is
used
to
describe
movement
of
things
at
the
site.
Mobility
is
the
state
or
quality
of
being
mobile.
Mobility
indicates
that
the
viewer
has
the
ability
to
be
mobile,
or move
at
the
site.
Tracker_s:
Trackers
are
like
a
very
detailed
ideogram,
but
instead
of
being
a
solid
line,
a
tracker
is
formed
by
dots.
A
tracker
is
drawn
very
slowly
using
dots
because
it
is
the
viewer's
autonomic
system making
the
decision
of
where
the
next
dot
should
go,
and
not
his
conscious
processing.
Generally,
a
tracker
will
accurately
follow
the
configuration
of
the
site.
Dimensions
are required
to produce
a
tracker.
Sketches
:
A
sketch
is
a
general
outline
without
much
detail.
It
is
drawn more
slowly
than
an
ideogram but
faster
than
a
tracker
and
is
used
to
express
an
idea.
Sketches
produced
immediately
after
an
ideogram
are
out
of
structure
and
are
considered
AOL.
Sketches
are
drawn
after
an
appropriate
AI.
It
is mobility
that
allows
the
production
of
sketches.
Sketches
can
be
drawn
both
while
in
and
out
of
contact
with
the
signal.
Sketches
drawn
while
in
contact
with
the
signal
are drawn rapidly
and
spontaneously.
Sketches
drawn
while
out
of
contact
with
the
signal
are
premeditated
and analytically produced
using
a
prescribed
format.
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To produce
an analytic
sketch
of
the
site
the
viewer
works
through dimensional
descriptors
until
an
appropriate
AI
is
produced
.
The
viewer
then
lists
his
data
in
three
categories:
dimens ionals
,
secondary
elements,
and
details.
Next,
using
the
above
listed
elements,
the
viewer
deliberately
creates
an
analytical
drawing
starting
with
the
horizontal
elements,
then
the
vertical
elements,
and
finally
the diagonal
(angular)
elements.
After
this
is
done
the
secondary
elements
and
details
are
filled
in.
Regardless
of
which
method
of
sketching
is
used,
at
no
time
should
the
viewer
be
sketching
an
image
he
has
in
his
head.
The
sketches
should
be
created
from
pre-visual
information.
If
the
viewer
has
an
image
in
his
head
it
should
be
declared
AOL
and
an appropriate break
should
be
taken.
While
producing
sketches,
by
either
method,
the
viewer
must
be
alert
for
spontaneous
ideograms
which
may
be
produced.
The
viewer
can
recognize
a
spontaneous
ideogram
by
the
speed
or
"automaticness" with which
it
was
produced.
When
this
occurs
the
viewer
should
attempt
to
produce
an
A
and
B.
If
there
is
an
A
present,
then
this
portion
of
the
sketch
was
a
spontaneous
ideogram.
During
the
Stage
III
training
session,
the
coordinate
prompts
the
ideogram,
which
prompts
the
A
and
B,
which
prompts
Stage
IIs
(including
dimensions),
which
prompt
the
AI
,
which
prompts mobility,
which prompts
trackers
and
sketches.
During
Stage
III
the
viewer
can
be
moved
to
different
times
and
locations.
Because
RV
is
a
passive
activity
the
Phrases
used
to
prompt
mobility
should
be
in
the
passive
form.
Cuing
such
as
"300
feet
north
something
should
be
perceptible"
is
used because
it
doesn't require
an active
response
of
the
viewer.
While
increased
site
contact
is
the
more
interesting
element
of
Stage
III,
it
is
secondary
to
the
real
goal
of
Stage
III.
Again,
THE
PRIMARY
GOAL
OF
STAGE
III
IS
TOTAL
COMMAND
OF
STRUCTURE.
To
complete
Stage
III
the
viewer
must
deliver
a
rendering
of
the
ideogram,
Stage
I
and
Stage
II
to
include
at
least
three
dimensionals
,
recognize
and
debrief
an
appropriate
AI
,
become mobile
at
and
around
the
site,
and
possibly
produce
a
tracker
or
sketch,
ALL WITH PROPER STRUCTURE CONTROL.
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CHAPTER
STAGE
IV
GENERAL QUALITATIVE ANALYTICAL ASPECTS
Whereas
Stages
I
through
III
are
directed
toward
recognition
of
the
overall
gestalt
and
physical
configuration
of
the
site,
Stage
IV
goes
beyond
descriptions
of
the
physical
attributes
of
the
site.
Stage
IV
describes
activities
and
objects
at
the
site
as
well
the
feelings
and
emotions
people
at
the
site
are
experiencing.
Because
of
this
increased
contact
with
the
site,
Stage
IV
is
considered
to
be
the
threshold
for
operational
utility.
In
Stage
IV
the
trainee
is
instructed
to
separate
the
incoming
data
into
eight
different
categories.
These
categories
are described
below.
Stage
II
(S-2)
These
are
the
same
sensations
which
were
discussed
in chapter
four.
These
signals,
while
still
classified
as
Stage
II
because
of
their
nature,
are
often
more
detailed
because
of
the
increased
contact
of
Stage
IV.
Examples
are:
blue,
hard,
car
smells,
etc.
Dimensionals
(D)
Dimensional
signals
describe
the
physical
size
of
elements
at
the
site.
These
are
similar
to
the
dimensionals
of
Stage
III,
but
are
usually
more
detailed.
Examples
are:
tall,
thin,
350
feet,
etc.
Aesthetic
Impact
(AI)
This
is
the
column where
the
viewer
debriefs
his
AI
.
This
is
a
close-ended
column
which
means
the
viewer
still
takes
an
AI
Break
as
in
Stage
III
and
stops
participating
in
the
signal.
Examples
are':
"WOW,
this
place
makes
me
feel wonderful.'"
Emotional
Impact
(El)
Emotional
impacts
are
signals
the
viewer
receives
from
people
at
the
site.
Any
time
a
viewer
perceives
people
at
the
site
he
should
immediately
move
to
this
column
and
look
for
El
signals.
These
signals
are
very
revealing
as
to
what
is
occurring
at
the
site.
This
is
an
open-ended
column,
the
viewer
should
not
call
a
break,
instead
he
should
continue
to
participate
with
these
signals.
The
El
signal
is
a
very
^ slow
signal.
The
viewer
should
take
his
time
when
debriefing
El,
there
is
no
need
to
call
a
BILO
Break
while
waiting
for
El.
Examples
of
El
are:
sad,
happy,
remorse,
etc.
Tangibles
(T)
A tangible
object
is
something which
can
be
touched.
This
column
is
use
to
report
"things"
at
the
site.
Examples
are:
trees,
buildings,
people,
chairs,
etc.
Intangibles
(I)
Intangible
signals
are
those
that
are
not
tangible
or
touchable.
Examples
of
signals
which
should
be
put
in
this
column
are:
religious,
military,
Soviet,
etc.
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AOL
In
this
column
the viewer
reports
all
AOL
.
This
is
a
close-ended
column.
As
with
all
AOL
the
viewer
will
call
an
AOL-Break
and
stop
participating
with
the
signal.
An
example
is
the
remembrance
of
a
place
which
reminds
the
viewer
of
the
perceptions
he
is
reporting.
.
AOL
From
The
Signal
(A/S)
While
A/S
is
not
necessarily
the
site,
it
is
not
a
true
AOL.
AOL
from
the
signal
is
a
hazy
image
which
is
still
considered
pre-visual.
It
is
an
analytical
construct
of
the
viewers
mind.
These
A/S
will
be
reported
in
the
A/S
column.
No
break
will
be
called
because
the
viewer
should
continue
to
participate
in
this
signal.
The
viewer
must
be
be
aware
this
A/S can become
an AOL and
be
ready
to
transfer
it
into
the
AOL
column.
Example:
If
the
site
is
a
radio
tower,
but
the
viewer
receives
an
A/S
of
the
Eifel
Tower,
the
signal
is
an
A/S
instead
of
an
AOL.
It
is
trying
to
show
the
viewer
the
site
looks
like
the
Eifel
Tower.
The
above
items
are
written
across
the
top
of
each
page
after
the
session
progresses
into
Stage
IV.
Below
is
a
sample
Stage
IV
format:
S-2
D
AI
El
T
I
AOL
A/S
This
matrix
is
written
by
the
viewer
rather
than
using
a
pre-printed
format.
Writing
the
matrix
cues
the
viewer
kinesthetically,
in
each
column,
each
time
it
is
written.
The
information being
debriefed
should
flow back-and-forth
across
the
page.
The
viewer
should
ensure
that
information
is
being
placed
in
each
column.
If
he
sees
that
one
or
more
columns
are
being neglected
he
should
prompt
those
columns
to
ensure
that
no
information
is
being
omitted.
To
prompt,
the
viewer
simply
places
his
pen
point
in
the
appropriate
column.
This
should
cause
a
flow
of data
to
be received
in
that
category.
When
the
viewer
produces
a
T
he
should
attempt
to
sketch
it.
If
during
Stage
IV
a
spontaneous
sketch
is
produced
the
viewer
should
attempt
to debrief
it
for
Ts
.
This
is
an
important
aspect
which
leads
to
tremendous
quantities
of
data.
This
often
requires
reinforcement during
the
session.
To complete
Stage
IV
the viewer
must:
be
able
to
produce
sufficient
quantities
of
data
in
each
column while maintaining
proper
session
control.
produce
sketches
from T's
and
T's
from sketches.
ft
is
important
for
the
viewer
to
be
able
to
confidently
produce
information
in
Stage
IV.
Often
the
viewer
will
produce
ata
bits
which
seem
to make
little
sense.
The
viewer
should
not
spend
time
trying
to
analyze
this
information,
in
Stage
IV
this
will
only
result
in
producing
AOL.
In
Stage
V
the
viewer
will
learn
to
interrogate
these
signals
for
details
without
producing
AUL
.
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CHAPTER
STAGE V
SPECIFIC ANALYTICAL ASPECTS
BY INTERROGATING THE
SIGNAL LINE
Stage
IV produces
large
quantities
of
information,
however
many
times
this
information
is
too
complex
or
confusing
for
the
Stage
IV proficient
viewer
to
deal
with.
Attempts
to
investigate
this
data
in
Stage
IV
usually
ends
in
the
production
of
AOL.
It
is
Stage
V
that
allows
the
viewer
to
"interrogate"
(see glossary)
the. signals
to
get
the
. appropr iate
detail
without
producing
AOL.
Additionally,
Stage
V
is
considered
a corrective
action
stage
in
that
it
allows
the
viewer
to
"look
through"
AOL
and
find
the
data
which
caused
the
production
of
the
AOL.
There
are
many
valuable
signals
lying
under
AOL.
Stage
V
offers
exciting
possibilities
for
intelligence
collection.
Whereas
Stage
IV
can
identify
a
site
as
being
a
library,
Stage
V
allows
the
viewer
to
"enter
the
library"
by
interrogating
the
signal
line
and
identify
the
subject
of
the
books
being maintained
in
the
library.
This
allows
the
viewer
to
differentiate between
a
legal
library
and
an
art,
or
S&T library.
Stage
V
allows
the
viewer
to
interrogate
the
signal
line
regarding
the
categories
of
objects,
attributes,
subjects,
and
topics
of
the
site.
First
we
will
define
these
categories
and
give
examples
of
each
and
then
we
will
discuss
the
actual
technique
used
to
interrogate
the
signal
line.
OBJECT
. An
object,
according
to
the
dictionary,
is
anything
that
is
visible
or
tangible
and
is
stable
in
form.
When
the
viewer
prompts
for
objects
he
should
expect
to
perceive
objects
related
to
the
signal
being
interrogated.
Examples
of
objects
are:
buildings,
tanks,
weapons,
people,
etc.
ATTRIBUTE
The
definition
of
an
attribute
is:
something
seen
as
belonging
to
or
representing
someone
or
something.
When
the
viewer
produces
data
of
interest,
it
can
be
interrogated
for
its
attributes.
Example:
the
attributes
of
a
school
are:
books,
students,
desks,
rooms,
teachers,
etc.
SUBJECT
A
subject
is
a
matter
or
topic
that
forms
the
basis
of
a
conversation,
train
of
thought,
investigation,
etc.
An
element
of
data
can
be
interrogated
for
the
underlying
subjects.
Example:
The
subjects
of
a
school
are:
education,
learning,
languages,
etc.
TOPIC
A
topic
is
a
subject
of
conversation
or
discussion.
A
topic
is
more
detailed
than
a
subject;
subjects
have
topics.
The
subject
of
languages
has
the
topics
of:
grammar,
German,
English,
etc.
While
the
concept
of
objects
and
attributes
can
be
easily
understood,
the
concept
of
subjects
and
topics
is
not.
Objects
and
their
attributes
are
tangible
and
exist.
People
deal
with
these
ideas
daily.
Subjects
and
topics
are
not
tangible,
however.
The
dividing
line between
a
subject
and
a
topic
is
very
hazy.
Because
of
this,
a
large
portion
of
Stage
V
training
is
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devoted
towards
this
concept.
In
the
past
it
has
taken
several
days
of
drills
to
instill
this
understanding
in
the
viewer.
In
spite
of
this
difficulty
however,
once
the
viewer
truly
understands
the
relat ionsh i p
be tween
subject
and
topic
it
is
no
longer
a problem and
training proceeds
very rapidly.
Now
that
the
categories
have
been
defined,
it
is
important
to
understand
the
relationship
between
them.
Basically,
objects
have
attributes
and
attributes
have
objects;
subjects
have
topics
and
topics
have
subjects.
However,
any
item
of
data
can
be
interrogated
in
any
of
the above categories.
We have mentioned
prompting.
What
is
prompting?
In
order
to
interrogate
any
piece
of
data
the
viewer
merely
writes
the
word,
statement,
or
phrase
to
be
interrogated
on
the
next
available
space
on
the
paper.
He
then
writes
below
this
the
category
he
wishes
to
interrogate
for.
For
example,
if
he
wants
the
attributes
of
an
object
he
writes
the
name
of
the
object
and
below
this
he writes
"attributes".
When
this
is
done
the
word
"emanat ions ?
" (wi th
a
question
mark)
is
written
below
the
category
and
the
information
will
become
available
to
him.
The
word
emanate
means:
to
flow
out,
issue,
or
proceed,
as
to
come
from
a
source
or
origin.
When
we
prompt
for
emanations
in
any
category
we
are
merely
asking
if
there
is
any
signal
to
be
received.
This
does
not
lead
to
AOL.
A
question
of,
"Are
there
any
people
there",
would
force
the
viewer
into
a
yes
or
no
situation
which
could
easily
induce
AOL.
When
we
ask
for
emanations
we
are
not
doing
so
with
a
preconceived
idea
(such
as
people).
We
are
simply
taking
whatever
response
we receive
from
the
prompt.
If,
when
prompted,
the
data
does
not
produce
any
information
in
that
category,
simply
try another
category.
Below
is
an example:
building
attr ibutes
emanations
?
tall
brown
people
glass
concrete
etc
.
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Building
can
also
be
interrogated
for
it's
subjects:
building
subjects
emanations
?
knowledge
learning
students
the arts
etc
.
As
you
can
see,
when
building
was
interrogated
for
subjects,
the
objects
of
"students"
and
the
topic
of
"the
arts",
came
out.
This
is
considered
normal.
The
interrogation
will
sometimes
automatically
shift
over
to
a
different
category.
As
long
as
the
information
continues
to
flow
the
viewer
should
continue
to
accept
it.
The best
time
to begin
Stage
V
is
when
the
signal
slows
or
stops
in
Stage
IV.
During
operational
sessions,
when
the
interviewer
sees
an
item
of
particular
interest
he
may,
at
that
time,
request
the viewer
to
interrogate
it
for more
information.
When
the
Stage
IV
signal
stops
the
viewer
should
review
his
data
for
elements
which
have
the
greatest
potential
for
interrogation.
Generally,
object
being
interrogated
for
attributes
or
subjects
is
the
best
place.
This
is
because
the
EEI
we
are
attempting
to
answer
is
usually
concerned
with
"things"
.
As previously
stated,
Stage
V
can
be
used
to
"look
through
AOL"
to
find
the
raw data which
caused
the
AOL.
There
is
usually
a
lot
of
signal
incorporated
into
the
AOL.
To
retrieve
this
information
the
viewer
writes
the
AOL
and
then
interrogates
for
the
"prior
emanations"
or
the
information
which
preceeded
the
AOL.
An
example
follows.
If
the
viewer
had
an
AOL
of
the
Empire
State
Building,
he
should
do
the
following.
Empire
State Building
prior
emanations?
tall
angular
massive
gray
etc
.
To
complete
Stage
V
the
viewer
must master
the
ability
to
review
his
data,
to
select
the
best
"leads",
and
to
move
freely
between categories.
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An
analysis
of
an
actual
Stage
V
session
is
included
on
the
next
page.
In
this
session
the
site
was
US
Grants
Farm,
outside
St
Louis,
Missouri.
This
shows
the
order
in
which
the
information
flowed
during
the
session.
As
previously
stated,
Stage
V
offers
exciting
possibilities
for
intelligence
collection.
It
allows
the
viewer,
without
A0L,
to
glean
tremendous
amounts
of
information
from
the
session.
With
Stage
V completed
the
viewer
is
ready
to move
into
Stage
VI
or
three
dimensional
modeling
of
the
site
which
allows
the
analyst
to
see what
the viewer
is
"seeing".
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CHAPTER
STAGE
VI
THREE DIMENSIONAL CONTACT AND MODELING
As previously
stated
Stage
III
allows
the
viewer
to
sketch
the
general
physical
configuration
of
the
site.
Stage. VI
is
a
continuation
of
the
expression
of
the
sites
physical
characteristics.
In
Stage
VI
the
viewer,
using
various
modeling
materials,
will
construct
a
three
dimensional
model
of
the
site
or
a
montage
of
the
site
area
to
include
natural
and
manmade
elements.
These models
can
be
very
accurate.
A
Stage
VI
model
is
a
tangible
form
of
information
which
can
be
very
helpful
when
given
to
analyst.
A
Stage
VI
model
of
the
building
in
which
a
hostage
is being held would
very beneficial
in
locating him.
.
These models
are constructed
from
"feel"
and
not
by
simply
modeling
the
Stage
III
sketch.
It
is
important
to
understand
the
modeling
process
is
not
simply
an
attempt
to
render
a more
exact
representation
of
the
site
than
can
be
done
verbally,, or
by means
of
drawing.
Stage
VI
modeling
is
a
kinesthetic
activity
which
appears
to both
quench
the
desire
to
produce
AOL
and
it
acts
as
cuing
to
produce
further
analytical
content
of
the
site,
even
concerning
aspects
of
the
site
not
being
specifically
addressed
by
the modeling.
.
.
,
Stage
VI
is
a very easy
stage
to
teach.
The
viewer
simply
takes
clay
(or
whatever
materials
he
is
using).,
and
proceeds
to
construct,
to
the
best
of
his
physical
abilities,
a
three
dimensional model
of
the
site.
When
this
is
done
he. should
move
his
hands
(and
perceptions)
around
the
area
surrounding
the model
and
"feel"
for
anything
that
may
be
located
near
the
site.
If
"something
is
located
he
can model
it,
sketch
it
on
the
mounting
board
in
it's
approximate
location,
or
he
can
return
to
the
paper
and
go
for
ideograms
of
this
"unknown
something
.
During
the
Stage
VI modeling
process
the
viewer
must
continue
to
objectify,
on
paper,
any verbiage
or
ideograms
which he may produce.
It
is
recommended
that
the
viewer
trainee
spend,
some
time
working
with
the
modeling
materials
before
ever
beginning
a
session.
This
experience
will
make
it
easier
for
him
to
model
during
the
session
and
allow
him
to
keep
his
attention
on
the
session
and
not
on
the
mechanics
of
modeling.
Modeling
ability
quickly
improves
with
time
and practice.
Stage
VI
is
an
exciting
and
fun
stage
for
the
viewer
and
interviewer
alike.
The
physical model
represents
the
culmination
of
a
long
training
process
and
can
give
the
viewer
a
tremendous
feeling
of accomplishment.
This
is
the
completion
of
the
six
stage
training
program
as
was
developed
by
I.
Swann.
The
next
chapter
deals
with
hypothesized
follow-on
stages
and
attempts
to
give
the
reader
an
idea
of where
CR.V can
take
us.
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CHAPTER
SAMPLE SESSION
STAGES
I -VI
SG1I
SGI
FT. MEADE
INTERVIEWER- HHi
220930 FEB
22° 47 ’19" N
122° 51
' 29"
E
A-solid hard
B-land
A-fluid wavy
B-water
L/W interface
22* 47'
19"
N
122° 51'
29"
E
S-2
A-rising
angle
manmade
B-structure
gray
dark
hard
1 ines
patterned
sloping
wide
tall
pointed
large
massive
AI Break
interesting
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S-2
D
AI
dark
gray
El
T
I
AOL
steps
A/S
tall
pointed
large
rising
wide
massive
attractive
AI
Break
mysterious
hard
crusty
attractive
significant
cultural
old
foreign
stone
Indian
Mexican
pyramid
shaped
religious
temple
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STAGE
temple
attributes
emanations ?
hard
rising
straight
gray
stone
massive
significant
subject
emanations?
important
central
bistor ical
large
hard
rising
significant
objects
emanations?
hard
rising
tall
foreign
Mexican
STAGE
VI
(The
next
is
a
photo
of
produced
.
)
the
Stage
VI
model
which
was
STAGE
VI
I
(The
following phonetic
sounds were produced.)
oo
to
tooo
lu
toolu
tooloo
the
site
is
the
the Mayan Temple
at Tolum
SITE
END
1017
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CHAPTER
FUTURE STAGES
This
chapter
deals
with
possible
future
stages.
These
stages
are
the
personal
thoughts
of
the
writer.
They
are
the
product
of
the
last
three
and
one-half
years
of
training
and
work
in
the
area
of
CRV.
These
ideas
are
my
own,
however,
they
were
developed
from many
hours
of
thought
and
discussion
with
other
people with common
interests.
During
this
training program
it
has
become
apparent
there
is
a
natural
progression,
or
continuum,
to
the
psychic
signa
.
This
progression
continues
beyond
RV.,
to
the
ability
to
exert
ones
influence
over
persons
and
things
at
the
site.
The
following
stages,
I
believe,
follow
this
natural
progression.
By
calling
them
stages,
I
am not
implying
they
are
trainable.
I
am
merely
stating
they
appear
to
fit
into
the
natural
flow
of
the
signal
.
STAGE
VII
ANALYTICS
Analytics
is
yes/no
decision
without
producing
A0L.
viewer
the ability
to
"recognize"
numbers
further
development
of
Stages
IV
and
V.
the
recognition
of
addresses
in
search
breaking.
This
stage
is
in
the
process
the
ability
to
make
a
This
also
gives
the
and
letters.
This
is
a
This
has
application
in
problems
and
code
of
development
by
I
.
Swann.
’According
to
Mr.
Swann
this
development
is
proceeding
well.
.
.
r
T
STAGE VIII
PH0NETICS/S0NICS
This,
too,
is
a
concept
of
I.
Swann.
This
was
originally
believed
to
be
Stage
VII
until
he
realized
analytics
actually
preceded, it.
Stage
VIII
will
allow
the
viewer
to
produce
phonetic /sonic
sounds
which,
it
hypothesized,
will
allow
the
viewer
to
produce
the
name
o
persons,
places,
and
things
at
the
site.
In my
experience
these
signals,
which
I
have
produced,
have
at
times
been
very
accurate.
An
example
of
this
is
"Carribah",
which
was
produced
when
tasked
against
Karriba
Dam.
STAGE
IX
TELEPATHI C
SIGNALS
Stage
IX
is
a
follow-on
to
the
Stage
IV emotional
impact
(El)
column.
The
El
column
is
. the
place
the
viewer
discusses
the
"feelings"
of
people
at
the
s ite
.
If
the
viewer
is
"in-touch"
with
a
distant
persons
feelings
the
next
step
would
seem
to
be
a
more
complete
telepathic
link.
Stage
IX would
be broken
into
two phases:
,
,
PHASE
I
would
be
receiving
telepathic
signals
from
the
site
area.
Again,
this
is
very
similar
to
Stage
IV
El.
PHASE
II
would
be
transmitting
telepathic
signals
to
the
site
area.
Once
we
understand
telepathic
signals
well,
enough
to
receive
them
the
next
step would
be
to
transmit
them.
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STAGE
X
REMOTE
ACTION
(RA)
Stage
would
be
..
mind-over -matter
,
also known
as
psychokinesis
(PK)
.
We
have very
little
understanding
of
PK,
but
we
do
know
it
exists.
It
Stage
IX
is
telepathic
signals
which
effect
people,
it
is
^ logical
next
stage
would
be
RA
signals
which
effect
things
.
a § e
would
be divided
into
three
phases:
.
.
at
PHASE
I would be
affecting
or
interacting with
things
at
PHASE
II
would
be
teleportation
of
things
from
the
site.
Teleportation
is
an
element
of
PK.
Once
we
can
interact
with
things
at
the
site
the
next
step
would
be
to
bring
things back
from
the
site".
PHASE
III
would
be
teleportation
of
things
to
the
site.
Once
we
can
remove
things
from
the
site
we
should
be
able
to
send
them
as
well.
„, mT,
m,
.
STAGE
XI
ALTERING THE DIMENSIONALITY
AT THE
SITE
This^ is
the
most
difficult
stage
to
understand.
Time J
s
considered
another
dimension,
but
there may
be many more.
Mathematically
is
considered
that
there
are
infinite
numbers
of
dimensions.
Stage
XI
would
be broken
into
at
least
two
phases:
PHASE
I
would be altering
time
at
the
site.
.
Time
could
be
frozen,
moved
forward,
or
moved
back..
The
implications
of
this
are mind boggling.
I
believe
this
is
the
first
stage
where
we
could
truly effect
(alter)
the
future
(as
well
as
the
past
and
the
present).
PHASE
II
Maybe
by
the
time
we
reach
Stage
XI
we
will
understand
enough
about
alternate
dimensions
to
use. this
phase.
I
believe
there
would
probably
be
an
additional
phase
for
each additional dimension
we
discover.
I
realize
these
concepts
are
difficult
to
grasp
and
impossible
to believe,
but,
they
are
a
natural
flow, of
the
signal
and
it
is
for
this
reason
I
included
them.
Only
time
will
tell,
whatever
time
is.
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CHAPTER
CONCLUSIONS
After
four
years
of
training
I
know
the
CRV
training
program
is
a
usable
program
for
instructing
personnel
to
RV.
As
we
increase
our
data
base
and
understanding
we
are
finding
the
time
required
for
training
can
be
shortened.
If
the
instructors
are
a
dedicated
group
who
truly
understand
CRV
this
program will
continue
to
improve
and
expand.
.
Future
stages
will
continue
to
develop,
I
believe,
in
general
order
which
I
presented
them
in
the
previous
chapter.
The
future
of
CRV
is
only
limited
by
the
imagination
and
efforts
of
the people
pursuing
it.
.
.
.
.
.
. ,
,
anA
I
believe
we
establish
our
own
realities
of
what
will
and
won't
work.
We
once
had
a viewer
who believed
he
could
view,
but
he
couldn't
view
different
time
zones,
consequently
he
succeeded
as
a
viewer,
but
failed
as
a
"time
traveler".
His
reality
would
not
allow him
to
accomplish
the
same
tasks
as
his
peers,
simply
because he didn't believe.
.
...
,
It
is
imperative
the
personnel working
in
this
office
keep
an
open mind
and
be
allowed
to
pursue
new
and
sometimes
. radical
ideas.
The more radical efforts may
produce
the most
gain
in
the
long
run.
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APPENDIX A
GLOSSARY
A
-
A label representing
the
feeling motion.
Aesthetic
-
Keenly
responsive
to
and
appreciative
of
beauty
in
art,
nature,
etc.
Aesthetic
site
that
Impact
(AI)
-
So
keenly
appreciative
or
aware
of
the
the
individual
is
unable
to describe
his
perceptions.
Analysis
-
A
method
of
determining
the
nature
of
a
separating
it
into
its
parts;
separating
the
feeling
the
ideogram
in order
to determine
the
B
-
or
site.
thing
by
motion
from
Analytical
Overlay
(AOL)
-
Information
produced
by
the
conscious
or
unconscious which
clutters
the
signal;
noise.
AOL Drive
(AOL-D)
-
The
viewer
is
in
AOL-D when
he
has
failed
to
acknowledge
an AOL and
it
is
"driving"
the
session.
Automatic
- Occurring
independently
of
volition;
involuntary.
Aware
-
Informed,
alert,
knowledgable
.
B
-
A
label
representing
the
automatic
analysis
of
the
feeling
motion
and
the
ideogram.
Break
-
To
terminate
a mission
for
a period
of
time
Can’t
Feed-back
(CFB)
-
This
statement
indicates
that,
due
to
limited
feed-back
materials,
the
interviewer
cannot
make
a
judgment
as
to
the
correctness
of
the
data.
It
means
neither
correct
nor
incorrect.
Conscious
- Aware
of
one’s
own
existence,
thoughts,
surroundings,
etc
.
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Confusion
(CON)
-
A statement
of being perplexed.
Correct
(C)
context
with
session.
This
indicates
that
the
information
is
correct
in
the
site
location,
but
is
not
sufficient
to
end
the
Feeling
Motion
-
A
feeling
and
motion
combined,
a
feeling
of
motion.
Gestalt
-
A configuration
having
be derived
from
the
summation
of
whole
is greater
than
the
sum of
specific
properties
that
cannot
its
parts.
The
concept
that
the
it's
parts.
Idea
-
Any
conception
existing
in
the mind
as
a
result
of mental
understanding,
awareness
or
activity.
Ideogram
-
A written
symbol
that represents
an
idea.
Impact
-
To make
an
impression.
Interviewer
-
The
individual
who
assists
the
viewer
during
a
CRY
session.
Interrogate
-
To question,
as
in questioning
the
signal
line.
Miss
-
To
fail
to capture
the
signal.
Near
(N)
- This
indicates
that
the
information
provided. is
not
an
element
of
the
specific
site,
but
is
correct
for
the
immediate
surrounding
area.
Noiseless
-
Accompanied
by
or
making
no
noise,
a mission
free
of
AOL.
Objectify
-
To
present
as
an
object,
externalize,
to
write
on
paper
.
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Objective
-
Something
that
one
s
Peacocking
-
Peacocking
is
when
viewer's
brain
tries
to
assist
product
of
this
assistance
is
an
Perception
-
The
act
or
faculty
means
of
the
senses
or
the mind,
efforts
are
intended
to
attain.
the
analytical
portion
of
the
in
identifying
the
site.
The
endless
stream of
AOL.
of
apprehending
information
by
cognition,
or
understanding.
Probably
Correct
(PC)
interviewer,
due
to
the
sure,
believes
that
the
-
This
statement
means
that
the
limited
feed-back
materials,
while
information provided
is
correct.
not
Signal
-
The
signal
is
the
means
by
which
the
information
is
received
by
the
viewer*
Site
(S)
-
This
indicates
that
the
site
has
been
correctly
named
for
the
specific
stage
being
trained
(manmade
structure
for
Stage
I
bridge
StageSlI).
Site
indicates
that
the
session
is
completed
.
Structure
-
The manner
in which
the mission
is
to be
conducted.
Too
Much
(TM)
-
A
statement
made
by
the
viewer
when, he
is
so
overwhelmed
by data
that
he cannot report
his
perceptions.
Unconscious
- Without
awareness,
sensation,
or
cognition.
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