— 7rpnrr_
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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION LXXXIV
1.
(S)
This report provides documentation of
a remote
viewing session conducted for the purpose of orienting
a
remote viewer to an applied remote viewing protocol.
2.
(S)
The remote viewer's impressions during this
session
correlated with the target very well if one uses only
the viewer's
sketches to guide
him.
The viewer's verbal description
is very
weak compared
to his drawings.
Although this viewer
is seldom
bothered by the ever present noises that constantly filter into
the viewing room,
today was an exception.
The viewer was
distracted several
times during this session by outside noises.
The viewer did not seem to be able
to maintain his usual con-
centration and focus during this
session.
The remote viewer
began
this
session relaxed and with confidence of success.
At the conclusion of the session he appeared mildly disturbed
and was no longer confident about the results.
3.
(S)
The protocol used for this
session and which will
be used in later training is detailed in the document.
Standard
Remote Viewing Protocol
(Local Targets)
by Harold
E.
Puthoff
and Russell Targ,
November
1978.
4.
(S)
Following
is
a transcript of the viewer's impressions
during
the. remote viewing session.
At TAB A are drawings
made by the viewer reference his impressions of the target
site.
At TAB
B are photographs of the target site.
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TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION LXXXIV
#66:
This will be
a remote viewing session
(edited
for security)
.
PAUSE
#11:
All right,
#24.5.
Its now
10 o’clock.
#66
is at the
location.
Find
#66
and tell me what
you see.
PAUSE
#24.5:
Well,
I'm seeing
.
.
light.
On the bottom.
(Not audible)
.
.
#66
is
in the white.
Standing
on a
.
.
Its
a big square.
PAUSE
Its
inside.
Its
lighted.
Its open but its
/
inside not outside.
PAUSE
Has walls around
it.
PAUSE
Let me
focus
some more.
PAUSE
#11:
Focus on
#66.
Tell me what
#66
is doing.
PAUSE
#24.5:
Looking
in boxes.
Boxes
are.
.
.
you can see
in.
Big boxes.
Metal sides.
Silver frames.
Lights
inside.
Leaning over.
Six
feet.
.
on.
stuck on
top.
The floor
is white
and bright.
PAUSE
(Not audible)
I can't get more.
PAUSE
I can't get much more.
I want to try though.
I want to try.
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PAUSE
Let me focus more.
#11:
Okay.
Go back to the
.
.
.
#24.5:
Distractions.
#11:
Go back
to the big white
square.
Look around
and describe
the surroundings.
PAUSE
+19
#24.5:
Wall on the
left.
Wall with
a box.
Long.
You can see
in
it.
Corner.
.
. with a wall
in front.
Funny
shape.
Door.
Low door.
Big square hole
.
Another room on
the other
side.
Black
in the middle of the room.
Dark.
Its bright
in the room.
I
feel
a light gray
or
a light green rug in that room.
Hall on the
right.
Stairway on the right.
It goes
up.
PAUSE
+22
I don't feel good about this.
I
feel as
though
its familiar so
I may have messed it up.
PAUSE
+23
(Not audible)
watches.
Trinkets.
Back to glass
case.
On the
right.
A line on the
floor,
dark
on the other side.
Light
in the
front.
A wood
wall.
. with curved places
in
it.
Up high in
t
.
the back.
I feel gold.
Glass.
Its curved
things
from the dark with stuff in
it.
Okay.
The glass thing has
a
.
.
glass thing has
a
bend in it but its sharp
-
90 degrees.
But it
stops before the wall.
The place
is
long.
y
(Not audible)
more
in the middle.
+25
Three
tiers.
Long things with more
stuff on
them.
Three tiers.
Square bottom.
A break
and another one.
In the back on the right is
a door.
A big hole,
no door.
.
into the back.
Darker
.
PAUSE
+27
The back
is round too.
The back wall along
to
the hole.
Its narrow and skinny.
PAUSE
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#24.5:
Jesus
I
I don't know what I've done.
Ha ha ha
#11:
Ha ha ha
#24.5:
I
just don't know what I've done.
#11:
Well,
go ahead and draw
it.
PAUSE
#24.5:
I have
to go through this
in two stages and
the reason
is because
I
stopped in mid-stride.
One
:
Because when
I
started being concerned
about where
I was,
it was
too familiar,
I
stopped.
And then
I tried
to get back to the
.
.
anyway.
I had
this.
.
The first thing
I had was
a
.
.
I'll take
a right.
.
I'll break
it right down to just what
I
got.
Okay,
let's
just look
at this
as being.
.
you
v
,-'
know,
an aera that
I
can see
in.
And this was
'
white.
And
I had the impression that
I was
looking down on
#66
from an angle and off and
so to draw this out of proportion he was standing
in the middle of this thing.
Right.
So his
legs were real short.
You know,
his
legs were
real
small and everything.
And his body just got
much larger you know,
because he was here.
Or
a person anyway.
I don't know if it was
#66.
A person.
PAUSE
Being looked down at.
.
from above angle.
Two
then was.
.
this white thing was big and was
square.
Not perfectly square but squarish.
And
I had the immediate impression that there was
stuff along the wall.
#11:
Are you still up above looking down?
#24.5:
Still up above,
yeah.
PAUSE
Then.
.
I
got.
.
These were glass.
.
Well,
these
were
the cases.
These were
like cases.
Okay.
And I'm going to call them glass because
I
could
see
in them,
but.
.
or see through them.
I
thought that they could be looked through
.
They
might just be open boxes or something.
Then
I
had what
I
think was here .
.
but
I don
' t know
.
Three was
.
. was this.
.Oh.
.
Okay.
Was
this
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glass.
.
or this case.
.
one of these boxes.
Okay.
Damn
it.
Was one of these boxes and
it
was
an angled perspective and
I had
a figure.
Right.
PAUSE
Was
leavning over
it.
Okay.
PAUSE
Okay.
Figure was leaning over.
Over the case
looking
in.
But the case
is
.
.
.
#11:
3k
feet.
#24.5:
No.
Its not that big,
its only like
.
.
this
is out of proportion.
This
is only
I'd
say
30 inches.
Okay.
But its
long.
I'd say that's
six feet.
Okay.
And then.
.
I'll think of where
I was, what was
I doing.
Okay,
and
I wanted to
say.
.
.
Okay.
No.
I think.
No.
It'd be
a
different
short for me
to do that.
Let me
go
to
then.
The.
.
a case.
.
has
- how would
I
draw this thing to show it right? ....
PAUSE
And in here would be another one.
And here
would be another one
These are shelves
inside the
case.
Okay.
And
the shelves have,
you know,
Mmmmmmm.
.
.
stuff
on
them.
I'll just call
it
stuff.
Just any.
.
small.
. with
.
. with items.
With stuff
in
them.
Okay.
Shelves
in the case with
.
.
this
isn't yet the gold and the gold and
stuff,
okay.
This
is just shelves
in case with things sitting
on them.
I'll say on display.
All right.
Then.
After all of
this,
then
I
got.
.
how do
I
say it?
Then,
I
tog the thing that made me worry about
my situation.
Okay.
Then
I
got the.
I'll
label
it
-
I'll tell you precisely what
I.
. what
I
ended up with.
Okay.
Second floor landing,
outside Command Group office.
#11:
Okay
#24.5:
And that's sort of what bothered me.
Okay.
So
here
I went back down
to the square and
I ended
up with no equipment or anything.
That's what
really threw me.
I went back down to the
square.
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I ended up with
.
.
that’s wrong to draw
that there.
Okay.
And
I ended
up.
.Ha ha
.
.
with
.
.
PAUSE
This
is
coining back,
in perspective.
Okay,
this isn’t going sideways
in perspectives.
This
is coming back in perspective.
That’s
the wrong
angle.
I want to just draw this thing here.
Okay.
This
is,
this
is,
you know what it is,
its the side of the
stairway.
Okay.
This
is
white,
white, white,
and
in
.
.
carpet line.
.
and in here
its
light.
Light in here.
Dark
object in here.
(Not audible)
Okay.
#11:
Urn hm.
#24.5:
And.
.
.
here would be
.
I got something
other than the sides of this.
This
is what’s
really
a curious thing for me.
As
looking
that way
is
.
.
and then,
PAUSE
Okay.
How do
I want to do this thing here?
PAUSE
But.
.
from where,
from where
I started here,
this was supposed
to be on the right.
That’s
what
I can’t figure out.
This was supposed
to
be.
.
feel leaning over glass case
looking in
on right side.
Supposedly,
in the live per-
spective.
Depending on where
I was winking
to would have been over here,
this case on the
right,
right.
#11:
Urn hm
.
#24.5:
So,
to put the whole composite together,
then,
if
I am to rely on that part as being valid
and the Command Group as being valid.
Then
that means that there’s
a glass case here
some-
where.
I’m just going to draw it in
in
a dotted
line.
Okay.
PAUSE
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But then,
this
is when
I said to you,
you
know,
I
said,
something's
funny here.
I'm off
the beam or whatever words
I
sued .
That
' s when
because
I knew where
I was.
I
said its
familiar
Right.
And
so,
because
its
familiar,
I was
afraid of
it because
I was afraid of
it.
So
for my learning experience
let me go on to what
I
got.
.
after that.
Which this may be entirely
true.
And
I may have fabricated the second part
#11:
Right.
#24.5:
Okay.
So Seven
is going.
.
Seven
is after
conscious acknowledgement of familiar target.
PAUSE
Then
I got back to
.
.
Okay,
then
I
got
- how
am
I going
to do this properly?
Seven.
Then
I
got.
Okay,
end up with
the same glass
case.
Okay.
I had that thing;
it was looking right.
Now,
its screwed all
up.
Okay,
the top of the
case and the front of the case.
.
okay,
that's
90 degrees but it doesn't look
like
it in the
sketch.
A dark line here.
Light on this
side.
Dark carpet.
And shortly behind it then,
I got
as though this was
a sales counter.
Okay.
And ...
a little
shelf.
#11:
I
think we better flip the tape here before we
run out.
#24.5:
Okay.
TURN OVER TAPE
#11:
Okay,
we're back on record.
PAUSE
#24.5:
Okay.
These are the
long curved things behind
this
sales counter or whatever
it would
be.
And this has stuff
in
it.
Okay.
These are
like
dis,
dis
.
. what would
it be an enclave?
#11:
Um hm.
Something like
that.
#24.5:
You know.
Dark wood paneling.
These are dis.
.
I'll
call them display enclaves.
Okay.
With
stuff on shelves.
And in here like are the
shelves right.
And at this point,
the shelves
took on
.
.
have gold and glass,
jewelry and
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stuff.
Okay.
And then trying
to
go to
the back which was
to
,
I ended up with
.
.
.
This
is
the counter.
Its amazing what perspec-
tive does
to you.
And this
is
the back wall.
Okay.
This
is
dark.
In here
is
.
.
this
is
like
its
a back passageway into the back
storeroom.
The only.
.
.
the main thing here
is that
I got now was
that its taking on
a
more rectangular shop shape.
And that here
are these
three tiered things.
Okay.
PAUSE
Does that look pretty good there?
#11:
Urn hm.
At least to me anyhow.
#24.5:
They're
free standing almost like an ice palace
or something.
You know,
very,
very modern glass-
everything clean and sterile and all
the rest of
it.
And meanwhile over here
is the so-called
standard display.
Okay.
#11:
Urn hm.
PAUSE
#24.5:
I'll write
in the back here,
storeroom.
This
certainly could be
a lesson in
.
.
.
TAPE STOPPED.
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TAB A
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J
#*
X
X.
o>
I ix
!_P~
ujujh
\ \
))
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Si
w'
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TAB B
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