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Four sessions were conducted
to provide
information.
The
times and circumstances were as
follows:
(1) lflP^AwWtr
?,4
V372
was
asked
to
details
of
an
event
in
progress,
personnel were also requested.
describe
the
location
and
Details
about
pertinent
(2) 1500
August.
2A
V372
was
asked
to
describe
details
activity
at
the
site
demarked
by
the
presence
of
sponsor's on-site representative.
and
the
(3)
Q-910
AtfKUPt.
££
V372
was
asked
descriptions from the previous
day.
to
expand
upon
his
(4)
112,0
August
V372
was
asked
consolidate
from
the
previous
scans
and
to
provide
remarks
.
the
information
his
concluding
During each session,
V372's responses were tape-recorded
He
was encouraged
to draw details whenever possible.
Drawings are contained
in Appendix A,
and Appendix B contains verbatim transcripts
of all four
sessions.
(Because of technical difficulties,
most
of the taped record of
the
second session was
lost.
Since
the remaining data are
intact and
since
the drawings from the remaining viewings are complete,
this gap
is
not significant.)
After all raw data had been delivered
to the sponsor,
V372 and
SRI personnel were allowed to visit
the target site
SG1A
D-
Analysis Technique
As discussed
in Section
II,
quantitative analysis
in an
setting poses problems.
Any analysis
of remote viewing data
must be accomplished within the context
of a mission statement.
An
analysis designed only
to demonstrate RV
is
inadequate
to enable an
assessment,
and
vice versa.
Under another program, »
SRI
developed a generalized analysis technique that allows
for an
a priori
mission statement.
An overview of that technique follows.
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Definitions
The most
important aspect of RV data analysis
is
the
definition of both the
target and the RV response.
For this analysis,
all
target and response information
is defined as
the fuzzy sets T and R,
respectively.
Each
is described below.
The target
is defined as a fuzzy set
of target elements
T[eVi
y jik
, wk]
:
SG1A
The RV response
is
similarly defined
as
a fuzzy
set
of
response elements R [<?k, ju
, wk)
.
The membership values
for response
elements,
however,
have
a somewhat different meaning than those for target
elements.
Membership values,
^.represent
an analyst's assessment
as
to
the degree of presence
of
et in the response.
For declarative
statements,
Hk-
1 unless
a viewer volunteers
a specific
or implied
importance
of
ek
to
the overall
target.
A degree of
interpretation
is allowed for
nondeclarative statements by letting ju<
l.
The response weights,
wk ,
are
identical
to
the target weights.
We define
accuracy as
the percent
of
target material described
correctly by
a response.
Likewise,
we define
reliability
(of
a viewer)
as
the
percent
of
a
response that
is correct.
The figure of merit
is
the product
of
the
two;
to obtain
a high figure of merit,
a viewer's description of
a
target must be largely correct and contain few extraneous
images.
In
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fuzzy .set
terminology,
these quantities
for the yth target/response pair
are
as follows:
Ewk (r
j n Tj) k
Accuracy,
=
a,
= —
—
S^T, k
k
,
2 wk (RjOT^k
Reliability
=
r
= —
,
j
S
Swk Rj,k
k
and
Figure of Merit. = M
=
a
x
r
)
i
i
i
The
sum over
k
is called the sigma count
in fuzzy set terminology.
The
sigma
count
is defined as
the sum of the membership values,
,
for
the elements
of
the response,
target,
and their intersection—that
is,
Rj,
Tj, and
(Rj fl Tj)
,
respectively.
2.
Target and Response Data
The universe of target and response elements
is drawn from the
August,
1988,
experiment.
We define three element categories:
functions,
relationships,
and objects.
These categories are weighted
1.0,
0.75,
and
0.50,
respectively.
Table
1 shows the universe of target and response elements and the formal definition
of 7 and R.
All scans were considered together, rather than scan by scan. The various scaling
weights are shown in parentheses adjacent to the appropriate factors.
The relative weights are
derived from SRI’s best assessment of the operational
utility of each element.
The response
membership values, R(|j.), were determined from the raw data (see Appendices A and B).
The
target membership
values,
TGj.),
were
determined by
SRI
personnel
during
a
site
visit
in
September, 1988.
All elements, however, were determined by an SRI analyst post hoc in order
to allow a more accurate assessment of reliability.
Elements derived from the response were
taken literally.
Those elements having no corresponding element in the target
(i.e., T(p) = 0)
were assigned the average weight of elements present in the target.
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SG1A
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Next 1 Page(s) In Document Exempt
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SG1A
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IV RESULTS AND DISCUSSION
SG1A
Table
shows
the figure-of -merit analysis
for
fuzzy
sets defined
in Table
1.
The target was
the
Hiliill^Hiiii support
equipment,
and testing environment.
The
target -response
intersection
is shown as
\T n R|
,
and the sigma counts
of
the target and response
sets are shown as
| T\
and
|R|,
respectively.
N
is
the number of elements
that were identified for each category.
All
quantities
include
the relative weights
shown
in Table
1.
The weighted accuracy total
of 0.80
(i.e.,
80% of
the
identifiable elements
at
the
target
site were correctly described by V372)
agrees well with the qualitative correspondence
shown
in Figures
1 and 2.*
Figure
shows V372's drawing of a plan view of
the target
area,
which
appears
to match the experimental situation almost exactly.
The figures
of merit show that,
since the first experiment
in this
series,
V372's
ability
to sense functions and objects has
increased modestly,
and his
ability to
sense relationships has increased by
a factor of
four.
The
relatively low value of 0.57
for the combined
(weighted by the category
weighting factors)
target elements
is consistent with the elaborate nature
of V372 '
s
response
(see
the original response
in Appendices A and
B)
Table
FIGURE OF MERIT SUMMARY
SIMULATION
Element Type
N
|T Dr|
|T|
|R|
Acc.
Rel.
M
FUNCTIONS
10.00
11.40
12.43
0.88
0.80
0.70
RELATIONSHIPS
15.05
21.95
23.45
0.69
0.64
0.44
OBJECTS
46.20
56.70
72.92
0.82
0.63
0.52
TOTAL
-
-
-
0.80
0.65
0.52
All figures are to be taken as indicators of qualitative correspondence,
photographs have been selected to illustrate the correspondence.
The drawings and
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utMc fttor
eUHrfnet.
FIGURE 3
VIEWER 372: PLAN VIEW OF THE TARGET
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•
Focal- A&tfA
.
SG1A
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After
SRI personnel had been debriefed about
the target,
a
second long-term participant,
V009,
was asked to view the same
event.
He
was
told
to provide whatever
information he could about
an event
that had
taken place approximately two weeks earlier.
Viewer V009 was told nothing
else about the nature
of the target
or target event,
and he worked without
an RV monitor.
Since this was an ad hoc test,
not
intended
to be part
of
the
series,
we have not conducted
a formal analysis
of V009's response,
Qualitatively,
however,
V009 appeared to do as well
as V372,
given that
he
remained
in session,
unmonitored,
for only 20 minutes.
Figure
6 shows
one
part of his drawing response that captures V009's
theme.
Interestingly,
V009 also appeared
to be confused by the multitude of potential target
material
in the
immediate area.
He drew an airport and recognized that
it
was not
the
intended target.
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V CONCLUSIONS
V372 was asked
to use RV to describe
the activity of
during August
and
25,
1988.
He described approximately
80% of
the identifiable target elements correctly,
and 71% of his
responses corresponded with the
intended target.
Although 29% noise
remains,
if this experiment had been an actual
activity,
the
noise probably would not have been
a significant distracting
factor.’
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REFERENCES
1.
.
.
7.
SRI^Project
?"
“ ?eTC^\
AuZmMon Techniques
," Final Report,
6R1 Project 3183,
SRI International, Menlo Park, California (December 1975)
Puthoff, H.
E.
and Targ,
R., “A
Perceptual Channel
for Information Transfer Over
/£££
et
Vnl S
ar
l
C6S:
wxi
0ril
al
PersPective and Re«nt Research,”
Proceedings of the
IEEE, Vol.
64, No.
3 (March 1976)
Proiecf* ^309
** cm “^dvanced Threat Technique Assessment (U),” Final Repon, SRI
Project
5309,
SRI
International,
Menlo
Park,
California
(October
1978)
Jahn,
R.
G.,
The
Persistent
Paradox
of
Psychic
Phenomena:
An
Engineering
Perspective,”
Proceedings
of
the
IEEE,
Vol.
70,
No.
2,
pp.
136-1^7*98™“
232*^
Enhancement , and Evaluation
,” Final Report, SRI
Project
4028-1,
SRI
International,
Menlo
Park,
California
(January
1984)
May,
E.
C., “A Remote Viewing Evaluation Protocol (U),”
Final Report
(revised!
cpt
Project 4028,
SRI International, Menlo Park, California
(July 1983)
Procedure^"
' “”^7^ ^
H< E '*
“An Am°mated RV Evaluation
clS (May ,985,
POrt ’
ieCt
7408
’
SRI
Imemati0na1 ' M«"'°
Fr«Lnnc.
H M
Phrey
; »B ‘
S ”
3nd Mathews ’ C
-
“ A F^re
of Merit
Analysis
for
ee
Response
Material,
Proceedings
of
the
28th
Annual
Convention
of
the
August'SS)
l0n ' PP
’
343_354>
TuftS
University, Medford, Massachusetts
Humphrey,
B.
S.,
Trask,
V. V„ May,
E.
C., and Thomson M. J„
“Remote Viewing
Evaluation Techniques
.
” Final Report-Objective A, Task 4, SRI Project 1291,
SRI
International, Menlo Park,
California (December 1986)
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SESSION NUMBER ONE
Viewer 372
August 24, 1988, 10:08 a.m.
M:
OK this
is session number one, viewer 372, and this
is one of four sessions looking
in
on
an
event
that’s been
in
progress
since
the
15th.
We’re
looking
for
a
description of that event including some information about the location
no il,
details of any equipment and some idea of personnel involved
P
darken^it ^^aftemards™
6611106
**' **”* ^ 8°ing t0 d°
is USe a penci] and
M:
Sure.
getdng an impression of a, like a semi-circle that’s open over here and there’s
° r
l°
mething Standine 0VCr here -
This
is really large.
I feel
rl
u
k
d
, ? T
0n lhe £r0und in some wa y-
Coming off of this semi-circle
yp
object are like hairs.
Don't know what those are. Maybe some kind of a
I’m
trying to look
at the end of this thing
(see second drawing) and I’m getting what
appears to be two extremely heavy thick crustations of some kind likf two forms
that encase a small hole, hole
is not a good description, they encase a some kind of
IwanTto
1^
WrC °r SOmethin£ ’
1 feeI lik *
really tiny but its imbedded in this Hke!
there’s
a couplT^hem!
5 WraPP ‘n8 ° r ’ VCry dense waPP in e>
like this a, actually
A couple of these objects?
Yeah,
call those object B, the
first pan of the drawing
is object A, the one with the
XeTSVL
! v ™5
iS =
' th,S e0es back lm°
<* <">•, veryUrget
maybe, well
1 don
t know, say two meters, two meters long.
Its out of scale here
whirmik^isloTl'w'
1 “Y
i8h
‘ k”
a " d d0'“ “ maybe sbl by f°" “"timbers
goJbaTimo
Th
“
'
U" y ' A
little ,iny core
th..
goes Back into something.
This outer wrap
is,
I get the feeling, very dense and the
outer Hi^ed
rmTonn
alm<
?
S
ri
like
innCr^ * Somewhat disposable and the
it
a rt
n
u
•
..
8°
put disposable with a question mark because
it feels like
you spell k?
P°Sable
iS an imerestinE thing,
I’ll write that down here. How do
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I know what you mean.
We U check the spelling before
I darken
it
in.
We re not in our spelling mode right now.
Yeah we’re not in the spelling mode.
Actually this
is totally separate.
I’ll draw a
me between the two.
Anything above it seems to be, lets caHit abound focal'area
SaS no coiicl Ti Z
f°r ’
1 Want
l° Say collectinS something but
*i
IOt
?
Its la,d out for catching something, for lack of a better word
its
shaped so that everything going to these
different points are
a,
arriving
all
at ’the
same time.
Going back over to this thing ah, I’m gonna draw a third thing, I’ve got
an A,
I ve got a B but I’ve got a third thing that looks like a but its not kid out on
the ground.
Let s call B up here B1 this is B2.
It looks like the A object in that its
th^ ou«
U
H
ltS
lke/°:
aIly ’ thC elHpSe
iS n0t open ’ and
a11 these U«le hairs go around
the outside, kind of a
collector here or something.
I keep trying to think
of
a
“Jd
y,°
c
f prEsenUnE r- rm no'— 01 *• -ppn^TfiSLX?
conrpM
H
i
°Ut wth a * almost like the inside of a building but
its not
its
connected hke . web or something.
I keep wanting to do
this
(draws
motion) and then wanting to do that (draws arrows shooting off).
What’s the sensation of that?
Y;
This
is clearly a shape but then
it can also be defined,
this
is
a,
if
I had to define
movement within this
I would define
it as going out something like that.
I feel like
there s
a whole
lot more
detail than
this that I’m not capturing,
that’s what I’m
trying to do,
I m trying to get my head together on the detail.
These collector hairs
or hbers are
a,
real
specific, they probably have something to do with
Bl, they
olhe7thiLs
n
iL°
r °Ut ?
B
r
A1S° I m ECttin8 3 rCally Str0ng imPression
a. some
er things, like one thing
I m getting a strong impression of is what
I call extreme
of°an tve
at
'°iL
S
°bServin8 somelhin8 that
'
s faster than like the flick
of an eye.
Its like quick observations.
And we’re also talking about a three step
something.
Its like three step or more function.
Its like they’re rapid succession
Boosted, magnified, enhanced, focused.
There seems to be a step missing in here!
inse^ hT* ^H
3 w
he
i!
e SUCCess 've
stePs there
’
s one missing,
its almost
like,
I’ll
Over^ here ^Ml’
doubIe bo°sted and over h<^
triple boosted, something
like that.
Over here
I
11 draw this,
I m trying to describe
this, this cutaway of Bl,
it a
what
L
m
no7
m
T
t h°
k l
3 ’
311 CXP
i
0ded Vi6W ° f thiS thing ’
1 have no idea ^ ^ gonna work
or not.
I think the way to do this, is to draw
it sideways so
it looks like a cutaway
What we’re talking about
is Bl.
y
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This part back here where
its connected to something?
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and this comes right on down to a, almost like
its a pick-up of some kind,
it goes
down
this
real
fine
core, and
I
really don’t,
I keep trying to
get back
in the
direction of the arrow and
I keep running into a lot of problems.
Its simple but its
complex.
Very simple but very complex.
Lets call
it some kind of gun.
This has
got,
I find myself wanting to do these kind of lines, they get closer -together at the
end.
Like some kind of wrapping.
I keep wanting to make something come out the
end of this thing.
But, you know,
I just can’t see anything coming out of the end of
this thing.
Its a, there’s some real complex thing about this too that I’m not paying
attention to,
its like there’s, this thing is like a frame a whole complex block of stuff
wrapped around
it,
lets erase this two meters on B1 and call
it a, two feet,
it might
even be smaller than that.
Its very thick or a, very dense versus thick.
I’m trying to
think of some other context to put this in, a where
it is, where
its located, what kind
of building it is,
a,
I feel like I’m getting more of a conceptual thing, you know, the
a whole picture, I’m getting parts and pieces of it. Then like another part,
I’ll draw
another line across the page,
I get an impression of a, like a narrow, kind of a long
narrow type, don’t want to say tube, but I don’t want to say, don’t want to say tube,
don
t want to say tunnel,
its like a ah, channel, a long narrow channel, and, this is
like, up here on this end
is an enlarged driver,
lets
call this a combined driver of
some kind. You come down here, this is like a receiver type thing,
it puts something
out,
I keep trying to envision what that
is but I’m not sure.
This combined driver
has got some kind of tubes going into
it.
All these spider legged tubes.
Its this
receiver booster I’m getting a better feel for,
its almost like a
circle,
its real dense,
real dense stuff around
it, and then
its got lines, and
I want to draw fine
lines,
its
almost like its got a spider web, this is,
I want to make this ghost like core suspended
by
fine
lines,
for lack
of a
better term.
Spider
leg tubes
carrying
fluid.
This
combined
driver, you could say there’s four or five of these.
Like stacked,
like
building blocks.
This
is
a,
I
feel like
I got something inverted here, something’s
backwards or
I fastened the back ends of the pieces together,
it probably
is not
exactly as depicted, that
I got the essential parts but its put together the wrong way.
I also keep wanting to put this in the ground,
(long pause) I’m trying to think of
buildings and stuff and I'm getting a
lot of overlay.
M:
It looks like you have some kind of detailed, small, something that you’ve zeroed in
on here and the larger context could wait
till the next session.
V:
Yeah.
M:
I did have one question.
What’s the scale of this.
V:
The A object?
The scale of this
is probably the size of a football
field.
M:
And then
is the rest somehow connected?
V:
Somehow connected, yeah, I’m not clear on how that
is yet.
What’s confusing me
is
I m
getting these
hairs coming off this thing and
I keep wanting to
call hairs
coming off this thing, you know the B2 object.
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M:
These two aren’t the same, A and B2?
V:
No, A and B2 are not the same. A
is like a large field of some type and B
is more
like a grouping of small collectors.
I’m getting lots of ovals, that’s really apparent.
I m getting ovals inside ovals inside ovals, I’m getting dense material layered with
less dense material, I’m getting fine wire, and then wrap that entire mess in a really
complex amplifier of some kind.
I think we’re talking about two extremes here,
one is an extreme of simplicity,
I mean the simplicity of it is incredible. Then we’re
ooking
at
the
other
end
of
the
spectrum
where
controlling
the
simplicity
is
extremely complex, very, very complex, you know controlling
it and amplifying
it.
Its very much like
if you were to,
if you want an absolute diamond pure wave front
delivered at a target, for instance, a thousand miles away obviously transmitting the
wave front through the media called air is going to really screw
it up badly, so what
you do is send
it anyway and you have a receiver at the thousand mile point, and its
backed to the transmitter, this
is really buggered up, demodulated in a certain way
so that when
it reconstructs itself here
it will look clearer when
it does, so there’s
this
rapid communications
that
takes
place and
the
transmitter
puts
out what
appears to be totally incoherent wave front,
its not even a wave front any more,
its
just pieces, but
when
it arrives, because of the way the effect the area has on
it
when
it arrives
in there
its diamond perfect.
That kind of simplicity.
The wave
format is easy.
Its the delivery of it that’s terribly, terribly difficult in terms of focus
and
amplification.
A wave
front
is
not
a good example but
there’s
definitely
something coming
out
that’s
really
simplistic
but
the
physics
of
it
is
really,
as
simplistic as
it is,
its extremely difficult and complicated.
That’s it.
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SESSION NUMBER TWO
Viewer 372
August 24, 1988, 3:00 p.m.
M:
OK.
This
is session number two with viewer
372, August
24,
its three
o’clock.
During this session we agreed to use a photograph of a beacon and the beacon’s
name as a way of further enhancing our contact with the target situation.
So at this
point
I’m
going
to show
the
viewer
the
picture
of the
beacon.
His name
is
and
his
social
security number
is on the back.
So
we’ll use that
photograph as the sort of contact for this session.
OK. You’re on.
V.
(long pause
during which viewer draws complicated
set up shown
in part A
of
Session
drawing)
(White noise
begins
at
this point and drowns out the voice
audio).
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SESSION NUMBER THREE
Viewer 372
August 25, 1988, 9:10 a.m.
M:
OK, this
is Session Number Three, Viewer 372.
This
is August 25,
at 9:10 in the
morning.
V:
And,
I think what I’m gonna do on the sheet one
is I’m gonna draw a perspective of
this temporary building like ground layout.
Some kind of ground layout.
M:
OK.
V:
So to do that I’m gonna turn my paper over and put “top of page” on one edge here
so everybody knows this is the top of the page. And, perspective-wise I get a feeling
of
a
double-sided
taller
building and
this
is
like
part
of the
larger
building.
And, that’s back here, so
I’ll put in a. ..another building here like this and
I get the
feeling like there’s a slight rise behind
it and like this. ..ground kind of does this sort
of thing, turns and goes that way and then
I get the feeling like there’s a,
I don’t
know that this stuff is but it’s like this kind of design and ground and then there’s a,
I want to put windows in the buildings but
I can’t.
More like block house type, real
low.
I get a feeling there’s like long,
tall pipes or something, something black,’ long
lines, black
stuff coming in
like
this and there’s some duct connecting these two
buildings.
There’s more
stuff coming
out
this
way.
It’s
like
black
pipe
or
something,
it’s just strung out kinda like spaghetti.
I’ll put a car in here so there’s
perspective on size. That’ll be a car.
Something else over here, uh,
I get like a fairly
flat area out here, and there seems to be some kind of mountains or hills back here
Uh,
there’s an
airstrip
in that direction.
Call
this the prime of two locations.
I
don
t know what this thing
is here.
It’s sort of like an air traffic controllers’ tower
little antennas coming off the, but
I don’t,
I don’t think
I would call
it an air traffic
controllers’ tower.
It just feels like
it.
All very solid building,
I keep wanting to do
this in the ground over here.
I don’t know
if those are
just tracks from people
turning around
cars
or,
that’s an
interesting pattern
I keep wanting to do here.
Probably, uh,
to 45 personnel.
Uh, temporary and permanent building mix.
This
is,
I think
this
is probably
a temporary building right here.
Black hoses or
cables.
There’s something else over here and
I don’t know whether it’s tanks as in
containers
I’ll put questions marks
in here I’m not sure.
Mountain range on the
horizon.
Hot and dry.
I’ll
call this Building One, and
I’ll
call this Building Two,
and, uh, Building One
is, uh, what’s this.
Uh, bay areas with computer terminals,’
recording device, say photographic.
Building Two has got some kind of uh, special
one-of-a-kind equipment.
So. here’s an outline.
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M:
OK.
V:
I dreamed
it up last night.
M:
Did you?
V:
Yeah.
The,
uh,
I’m,
I’m trying to think
of what the business end
of this
little
humper
is.
And, uh, about the best that
I could come up with
is,
I get the
fe*teling
like I’m looking at a bunch of mirrors, some kind of polished metal mirrors and,
this
is going to be
really complex the way I’m gonna draw
it, but
it’s really very
simple.
I’m not sure
I can draw it the way
I wanta draw
it, that’s the problem, so,
just bear with me a
little
bit.
Its like an ovaloid, and then, there’s mirrors in this
thing that are shaped something like this, and they rise to a, to this central platform.
Now,
that’s kinda like looking down from the top.
M:
OK.
Does this kinda go into a depression,
is that why.... OK.
V:
Yeah,
right,
exactly.
Now this
is the from top, uh,
let’s see,
we’ll
call
this View
From Top of Top Half.
This where
it gets a
little complicated.
M:
OK.
There’s a bottom half to this sucker, and it’s almost identical and, let’s see,
it’s, and
this is like the bottom half.
Yeah.
In the middle of this thing,
I guess
it sorta
sits on
this
flat area.
That’s not right.
It looks
flat from the outside but if you look on the
inside there
s like a this kind of a thing.
Seems to be a depression in the middle of
it.
M:
Um, hum.
So I’m not sure
I understand.
This, this
is looking up from the bottom,
you’re underneath
it,
or...
V:
Well,
it’s hard for you to see the perspective and
it's like two halves separated.
In
the, the bottom half curves up to the flap and the top one curves down to the flap.
M:
Curves down, yeah, OK.
V:
So that
it’s like when
this clam shell thing was brought together...
M:
Oh, OK.
V:
...the center piece almost touches...
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M:
Yeah.
V:
...but the outer edges come
like, you know,
in an oval or ovoid or whatever you
want to call that. And these outer edges are like interlocking, therels like a lip that
goes around the outer edge of one half.
M:
Um, hum.
V:
And. interlocks on the inside edge of this one.
So...
M:
OK,
I see.
V:
...so
it’s almost hermetically sealed...
M:
Yeah.
V:
...when
it comes together.
M:
So these two would kind of like fold together like that.
V:
Yeah.
M:
OK, got
ya.
V:
Yeah, so you can say, you know,
M:
Yeah, um, hum.
V:
Edges interlock.
M:
Yeah.
V:
And, what this
is,
this
is really interesting, because what this
is,
is these are really,
really shiny polished sections of metal, and really hard.
M:
Yeah, OK, be sure you label that.
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V:
Yeah,
I’ll say very polished very hard metal.
Now, where the creases of these come
together we'll
call these,
all these different lines are creases.
Where those creases
come together, I’m gonna have to go with a different page, I'm gonna do the edge
now.
The edge of this thing.
Then we have a,
it does that and a bottom piece that
does this.
I better do a see through here.
Where these creases come together are
these
like
apertures that look something
like
that.
And the center of
this,
this
aperture comes out like this and then there’s
a, fastened over that whole thing
is
that part whatever
it was from yesterday.
I don't know
if that makes any sense.
M:
Um, hum, yeah,
I,
I think, and then you’re saying one of those comes out at each
one of these?
V:
Yeah.
M:
The whole way around?
V:
Yeah,
it’s
like, uh, spokes.
M:
Yeah.
V:
You got
all these spokes,
M:
Yep, um, hum.
V:
So you got a
flying saucer with spokes.
Now..,
M:
Or a high tech wagon wheel.
V:
Yeah,
a high tech wagon wheel that’s what
it
is.
I’m gonna pull
a
circle and
it’s
gonna say see third drawing.
Now.
Back here where you come into these flat areas.
This is starting to look grossl
Uh, we’ll call this Part A, third drawing.
Pan B
is, uh,
cut away at the center section.
And the center section essentially looks like, that
being the
top,
this being the bottom, and
I think
this
is where
I was getting that
symbol from yesterday.
M:
OK.
V:
It’s the hean of this thing.
M:
Um, hum.
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M:
Yeah.
V:
And that the whole idea has to do with like two or three of these going off in this
direction. Sort of a
flying saucer with guns.
That’s what we’ll
call
it,
flying saucer
with guns.
And that these are kind of grouped and there’s, there’s, uh, these do
something.
Actuality of this, somehow or another
this section, I’m gonna
call
it
section, this section
is some way currently terminated.
And this
is
all the business
end
of what
I was
drawing
yesterday and
this then
this
is
like
part two
of
a
three-part section.
It’s a flying saucer with nipples, I don’t know what else to oall
it.
M:
OK,
I don’t quite understand when you said this is pan two of a three-part, are we
talking about
a,
this object here.
V:
Yeah, what we have
is for lack of a better way of describing
it, we have a block,
blocky-type of device that
I was drawing yesterday.
M:
Yeah.
V:
Call
it a block device.
M:
OK.
V:
And that somehow feeds into this...
M:
OK.
V:
...thing,
this...
M:
OK.
V:
...with nodes.
M:
Right.
Got
it.
V:
OK?
M:
Um.hum.
This
is a, we’ll
call
this the saucer.
Saucer device.
And then that feeds into, uh,
Part Three.
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M:
Yeah.
V:
I must be doing good work.
So.
we’ll
call this diagrams.
M:
OK.
OK.
V:
And Part Three I’m gonna try to add but I’m not sure exactly what Part Three
is
yet.
M:
OK.
V:
I
feel like
I’ll walk into a Part Three.
So.
M:
That’s
it for now.
V:
Yup.
M:
All
right.
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SESSION NUMBER FOUR
Viewer 372
August 25, 1988,
11:20 a.m.
M:
OK.
We’re ready to begin Session Four.
August 25,
1988, and we’ll,
this will be
the wrap-up session, pull
all the loose ends together...
V:
Um, hum.
M:
...see what we get in terms of the
overall view.
Any,
a couple of things that we
hadn’t
concentrated
on
are,
um,
you
know,
the
overall
activity,
the
people
involved, that sort of thing.
V:
Um, hum.
M:
You get any impressions on, on any of that stuff, um...
V:
Right.
M:
...put that down.
V:
And, and you could say also end
result.
M:
Yeah, sure.
V:
Specifics around experiment.
M:
Um, hum.
V:
OK.
Uh,
let me
start
off with some
pretty
basic
statements.
One
is,
uh,
the
experiment has to do with, uh,
at least
I, this
is my impression, collecting data on
short wave front effects.
Uh, what does that mean,
I don’t know.
M:
OK.
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V:
My impression
is that, uh,
I keep seeing like, uh, a graphic representation of a huge
spike,
like a frequency
line.
M:
Um, hum.
V:
And the frequency line, uh,
is really high frequency, you know, we’re talking like
up in the EMP range.
Electromagnetic pulse range,
I mean this is,
all that covers a
big spectrum too. EMP range of under, under 10 angstroms.
We’re talking about,
a wave
front that’s almost, wave
front equals plasma-type
effect.
We’re
talking
about, uh,
I keep, this, this term short keeps coming in, but it’s,
it’s a multiple use
word.
So we’re talking like short or extremely short duration.
We’re talking about,
you know, aside from short wave, very short duration.
M:
Um, hum.
Um, um, I’m looking
for
a
right term to describe the, the wave
front.
And,
it
precedes all other effects.
In other words,
it’s the first one there, the speed of light.
But
it’s not, not photon type,
it’s something else, that travels the speed of light, or
very near speed of
light.
Power of output
is,
see I’m not a physicist, so
I don’t
know.
M:
Um, hum.
V:
But
it,
it’s really high.
M:
Um, hum.
Um, hum.
But, I’m trying to find a way of expressing
it in laymen’s terms that will make sense.
Power of output .high enough to turn, uh, metal molecules to vapor.
That’s pretty
high.
Vapor or plasma.
Uh, target is multi-layers of different, uh, metal densities,
with electronics sandwiched in between.
Uh,
feeling that the, uh, feeling some of
the electronics are,
I
11 call them transfer sensors.
Um,
are away, um, immediate
test site.
Uh, are collecting data on wave front effects, um, but, but they’re doing
it
in like a step fashion.
This just pops up in my mind I’m going to put
it on this sheet
over here.
Here’s, uh,
interesting a peace symbol.
I get almost a peace symbol
layout of a, this
is the target.
I’ll do
it this way.
That’s the target.
This direction
is
the wavefront emission, that’s not right.
Let’s throw that out of here for a second.
And we’ll do
it this way.
Wave front emitter, and we’ll make
this the target, and
then I’m gonna put an X where all the sensors are. Now the,
its like,
its not a real
narrow thing.
It’s more like this effect.
And what
all these sensors are for
is to
analyze
this
front
as
it goes through the sensors.
And the
target
is pretty much
really just
a,
a different way of analyzing that.
These are more sensitive to other
things.
The
little X sensors
are more
sensitive
to other things.
Call
these, uh,
sensitive to, uh, more specific elements of wave from effects.
And then this target
down here
is, uh, more general, effect test.
It’s like an overall evaluator. See these
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SG1A
are more, more job
specific.
The X's and the
actual main target
is more
of a
general oyerall type tying.
The people are also.
You say you had a project name
M:
There’s a code name for
it, yeah.
V:
A code name.
M:
Um, hum.
V:
What’s the code name?
They’re trying to magnify analyze.
Magnify. You know, you only use that
word eight billion times in one career.
Anyway.
You get the gist.
They’re trying to
magnify, uh, analyze, uh, increase, focus, optimize, wave front energy.
Sort of a
I’m, I’m gonna put this over to the side.
Sort of coming to a balance in out-focus
versus how strong the output.
It’s almost like one has to be done at the expense of
the other.
M:
Um, hum.
V.
The more strength they want to add to
it, the
less focus they can do.
The more
focus they want to add to
it, the
less strength they can do.
M:
OK.
And, and then that,
of course,
varies range and effect.
Also, I’m getting
a
I’m
getting the, I’m getting a feeling that, that, um, we’re gonna, we’re gonna
call’ this,
uh, the old symbol that I’ve been using.
I’ll draw
it on the top of the page.
I’m
gonna conceptually try to break out what this symbol
is, or means.
Cause
I think
it s
at the crux of the whole system here.
M:
Um, hum.
OK. What
I think this means, say this mean, that. uh. I’m getting like an implosion
versus an explosion.
It’s like there’s an object that looks something like this. And
inside of it is something else.
What’s happening here
is we’re getting something like
this kinda stuff.
What’s happening,
is,
is, this stuff is coming down on this core and
what s causing
it to do that
is part, uh.
I gotta label these.
Part A
is coming down
on Part B.
What’s causing
it to do that
is Part A
is being hit with Part C.
This
is
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being bombarded with Part C.
Part C
is that big square box.
And
it's coming in
•
er
^h
ai
J,
U s in^Pactir>e with A. And A is imploding versus exploding and the result
un anH h n-
£
d°^ r ‘eht ' 30 expulsion ofD ona element of D. And D is going
up and hitting those, remember those polished surfaces?
®
E
M:
Um, yeah, sure.
V:
D
,
ls ^
ouncin8 back into, D is bouncing back into B again. Now, what’s haDnenino i*
it s like feeding on itself and it’s, it’s creating this huge plasmic-type effect
So we’ll
ZTZ5 v
P’aSma -
And
’h“ ,haU
in “">• *
,hl
Sre and kU L*
0™"* 0Ut
,
here and
it>s hittin8 *ese like the ends of that real thin
wre and
it s having an
electrical or physical interaction
out here.
I mean
this
ereattach' “ T
X
With * ^^ lhin* whatever that is. And that’s
th!t
?k
y
u
u °UtpUt ri8ht hCre -
Smaller
^sen-like,
I,
I, you know
t, like a laser beam but not.
It’s even more refined than a laser beam. And this’
this output E, out here, this output E
is what’s going out hitting those targets
And
focusing this E
is really difficult.
I mean there’s a lot of fibers and
it’s li„„„
is
Ut
sVt?e?e?tWs
re
th
d
^ dependin6 upon what the sprea d
is,
is how strong k
and
I’m nn,
n
constant trying to focus, you know, bend, manipulate. And,
and
I m not so sure that these,
these mirrors,
I’ll label them mirrors
call them
metal mirrors, uh, they may not be manipulative.
I,
I see them moving.
M:
So they may be manipulative.
V:
™anipuladve
'
In other words, they can focus or refocus or defocus or
whatever this D
is,
is bouncing around.
M:
So you wanta they may be instead of may not be.
hioh\
k
SOrr
!,'
at
'
S re2lIy hard
this whole *ing
is
it’s
all, you know
high
high speed computer-controlled stuff all done with predesigned programs that
e,
I mean, they re operating at lightening speeds.
And
all
this dynamic
is taking
place
in, you know, 200 millionths of a second and this
is trying to capture
it and
ocus
it and, and build on
it and pulse
it out through this little thing at E and the E is
a mass of these things that comes in too wide and
it’s gotta be focused back do^
M:
Um, hum.
V:
And so, so this entire, this entire goes on for like three one hundredths of a second
Discharges.
And then the other problem
is this thing gets super hot.
They
what’
we
11 call
it the the. generator, this, uh, oh, you know what I did I?
We’ll
this
thii
generator, whatever
it
is,
is further complicated
in that, uh.
it gets rea iy hot
so
there s
a
cooling problem.
Uh,
there’s
focus problems
as
a,
you know,
as
a
ci
ary to
t
e,
the heat build up.
There's a collection problems.
We'll
call that
maintaining th, plasma.
Anti than, and then, also th, thfng than UiaTaoL",
‘ Sat
B-17
Approved For Release 2000/08/07
: CIA-RDP96-00787R000300290001-9