Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
Analysis
of RV
#2 Experiment
Transcript of the second remote viewing experiment was typed out the
same day, and
I corrected and verified
it by replaying the tape made during
the experiment.
There are three separate parts to the narration.
First, the attempt to
predict the site beforehand.
Second, the description of a shielded environ-
ment followed by views through a kallidoscope.
Third, the description of
the building interior.
In each of the three parts
(as in the other experiments as well) the
initial description
is good.
Attempts to further elaborate on the descriptions
begin to involve analogies, guesses, and memories; and get increasingly
poor.
Subjectively, the overall performance was definitely extra-chance,
with the second portion particularly satisfying.
As an attempt at objective
analysis, each aspect of the drawing and each phase of the verbal description
were designated true
(+) or not true
(-) with a
(?) only for those details not
verified.
The drawing
is difficult to so analyze, since
it was drawn in con-
junction with the verbal description.
The score given to each phase
is shown, and then placed in summary
categories.
A number of sophisticated computations could be done to look at
such variables as the time sequence of
(+) and
(-) responses.
I doubt they
would provide any pertinent information.
A simple summation of the scores
by category indicates only five significant categories:
the body position of
the outbound experimenter, ambience of the location, and relative locations
were significantly true.
Object names and descriptions relating to the out-
bounder's environment were significantly untrue.
There are several problems with doing such an analysis:
1)
The role of the interrogator must be considered, as
it directs
or misdirects the subject and focuses attention on categories of response
easy or difficult to the subject.
2)
Each RV site in these experiments
is generally chosen to have a
high degree of strangeness.
Recognition of the peculiar qualities of the
site should be weighted more heavily than correctness of details such as
color or sizes.
An analysis procedure should reflect informational value,
relative to the particular goal in performing the RV.
My personal goal
was proof that
I could perform remote viewing; my subjective analysis
indicated that
I was successful.
The objective analysis attempted here
ET*3:T."
i
k
-
r-
. Approved For Retea$e,2003/09/10
: CIA-RPP96-Q0787R00020Q070004-1.
••'*1
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
indicates that the informational quality of the results depend upon the
categories of interest.
3)
Categorization was arbitrarily done, and may have incorporated
some additional bias into the anaysis.
4)
A number of correct items were not described, but are implied by
the details described.
For instance, by discussion of the floor plan
it is
implicity stated that the site includes a building.
Any analysis by count
should include such implicit statements, alhtough that is not attempted here.
5)
It is not certain that the channel for RV transmission does not also
involve telepathy;
in fact there
is evidence that the involvement does exist.
Therefore,
it is important that the outbound experimenter both focus his
attention and record his perceptions and intentions, for correlation with the
subject's descriptions.
6)
By knowing the analysis procedure beforehand, the subject can
generally improve his response relative to that assessment.
In particular,
a subject can refrain from describing details or drawing analogies.
It would
seem he might also use knowledge of his own calibration results to indicate
what categories of data he usually gets correct. A learning program using
such feedback might increase performance relative to a specific analysis.
In all cases of remote viewing run to date, however, the attempt has been
to obtain as much information as possible, without imposing any filtering.
Objectively analyzed results may have suffered from this emphasis on
production rather than validation of information.
The phenomenon of remote
viewing has now been sufficiently demonstrated that the current concern
should be increasing the SNR of the subject's output.
nwpni**y
K&
f
.
V*-
..„v .:r- -2- v .-A
<•
Approved Fpr Release 20Q3/09/1 0
: CIA-RPP96-Oq787ROQ0200Q70004-1
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
RV
#2 TRANSCRIPT
TODAY IS THURSDAY, NOVEMBER 7,
1974.
THIS IS RUSSELL TARG WITH'
SG1I
|
1 BLDG.
30 AT SRI.
THE TIME IS
1 0:
1 0 AM
.
HAL HAS LEFT TO
OBTAIN TRAVELING ORDERS FOR A REMOTE TARGET.
HE'LL GET HIS
TRAVELING INSTRUCTIONS FROM BART COX WHO'S HOLDING A COLLECTION
OF REMOTE SITES IN HIS SAFE. AT
10: 30, HAL WILL BE AT HIS REMOTE SITE,
AND AT THAT IME WE'LL ENDEAVOR TO DESCRIBE WHERE HE'S AT.
SG1I
|T
. S 10
. 12 , AND
I
1 AND
I WERE DISCUSSING THE POSSIBILITY OF
DESCRIBING AT THIS TIME WHILE HAL IS STILL OBTAINING HIS TRAVELING
ORDERS WHAT KIND OF PLACE HE MIGHT ARRIVE AT 17 MINUTES FROM
NOW WHEN HE GOES TO HIS REMOTE PU\CE.
TELL ME ABOUT THE BENCH THAT YOU SAW.
I think that's probably just what he was moving past.
It was just a standard
work bench like you find in a lab— light wood more than waist high
in fact
there are probably a bunch out in the hall here.
IF YOU PICTURE HIM AT THE BENCH, DO YOU SEE THAT BENCH INDOORS?
I assume that
it is
then
I
start thinking of all similar kinds of things
that would be outdoors.
It's a.
. .pretty
you just talk about the height.
I sort of saw him leaning on one elbow and leaning against the bench.
BY BENCH YOU MEAN A LABORATORY BENCH OR WORK TABLE?
Urn hum
IS THERE ANYTHING ON THE TABLE?
Not much.
No.
YOU WANT TO TELL ME ABOUT IT?
A few papers, small things.
No really large equipment.
Then when you asked me
if he were inside,
I flashed to him in the same kind
of position but he's up on top a hill looking out over a landscape, and there's
a guard rail along there, and he's kind of leaning against that.
So the idea of a structure that's a
little higher than waist high with him
leaning up against
it— kind of common to both of them,
let's stop for now.
mirsc:"
V:O' r-
:
'
.
K
i
I
vVv'A. n
;
. r
re.-
ApprpveCFqr
2Q03/Q9/10
: CIA:RpP96r0g787RQq0200Q790p4-1
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
IT'S NOW
10: 15.
THE TIME IS JUST ABOUT
10: 30.
SO WE’LL ASK
HER IMPRESSION OF WHERE HAL HAS GOTTEN TO.
TO GIVE
My initial impression
is very strange.
First of all,
I just saw a big, empty
black box and thought maybe he was in the shielded room.
Then
I got a
very clear image of him laughing and grinning, and
I thought maybe the big
darkness
is a mirror that he's kind of looking
in.
Trying to get a feeling for what he is doing— I just have him standing up
kind of leaning with his back against something, hands in his pocket.
For a while the image all broke up as though
I was looking through a prism
or something.
There were lots of Hals doing all different kinds of things.
Almost like looking at a movie projector that was shot through a kallidoscope.
There are images projected but they're all kind of piecemeal.
THAT'S WHAT YOUR IMAGES ARE DOING OR THAT'S WHAT YOU THINK
HE'S SEEING.
I'm not sure which.
I think he's involved in
it.
I don't know
if he's
running the show or just watching
it.
IT INVOLVES CHANGING SCENES?
Now
it's just all geometries like triangles with
lots of movement more than
anything.
See a
lot of patterns going by like maybe touring a modern art museum.
Nothing I've done in fact would give me a comparable set of colors and
shapes in such a short period of time.
I just got the idea to try and count the number of times he looks at this watch.
I just lost track of how many times he's done
it so far.
I think twice so far
.
IT'S
10: 35 RIGHT NOW.
(phone rings, Russ goes to answer
it)
DOES THAT BLACK BOX STILL FIGURE IN YOUR PICTURE?
No
? ^proved For Release 2003/09/1 0
: ClA-I^R96-p0787R0p020q0700t)4,1
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
I was just saying while you were out was that the only thing
I could think
in my experience would give a similar feeling
is of walking through a
museum looking at an art show—a
lot of geometric forms and colors,
different shapes.
Trying to get a feeling for how much activity he's involved in.
Initially,
it was just the feeling that he was kind of relaxed, standing up
and looking at something, but
I haven't got anything else.
Just as
I said that
I saw him sitting down.
That may have been my own
memory of the fact that
I always sit and look at art museums.
IF YOU LOOK AROUND YOU COULD YOU TRY TO DESCRIBE THE PLACE
THAT HE'S AT?
Just got an image now of a square room.
The floor seems to be checkerboard,
black and white.
Towards the center they kind of fade out.
At the corners
it seems a sharp pattern.
Looking toward one wall.
. .there's something in the center, .kind of circular.
1 don't know
if it's a fountain or seats or both.
The wall I'm looking at is tall.
. .there are high ceilings, was going to say
a large door, but it's more as
if there were just part of a wall
.
.
.
I guess
that's the entrance area.
Just got an impression of a water fountain—one of the kind that's sticking
to the wall rather than standing up on the floor.
There's marble around
it.
It's kind of a.
.
.
.
like arches, .marble against the wall
.
There's a light
fixture on the wall near the peak of the arch.
Steps leading down.
Trying to go down the steps
I see a
lot of things at once
it's kind of a
circular room down there, reddish colored rug on the floor.
Then
I get the impression of something circular, maybe chairs in a circle
like a lounge.
mats*
(fcljOT''!**'.
yt
.Approved Foe Release 2003/09/1 0
: giA-RQP96-0()787R000200070004-1
.
.
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
IF HE LOOKS AT WHAT'S IN FRONT OF HIM,' WHAT KIND OF SPACE DOES HE
SEEM TO BE IN RIGHT NOW AT 11:20?
IF HE LOOKS OFF, WHAT DOES HE SEE?
In the distance,
it's very dark.
.
. .blackness.
Up close,
it's rugs.
. .kind of
like going off in an alley way, bench-type chairs on either side.
Starting to get an impression—the feeling. of the place.
It's
like kind of like
a movie theatre or art museum.
It's a tourist type place.
A place you goto
see and walk around in.
I don't think
it's a business place.
IF YOU LOOK AT THE FLOOR WHERE HE IS NOW, WHAT DOES IT LOOK LIKE?
I don't know
if it's tile or carpet tile.
White, brown, gray, kind of an
ornate dark on light pattern.
I seem to have a very small field of view.
If you ask me to look at one thing
I can guess about that, but
I don't see the surroundings.
But
it does seem to be a very busy place.
YOU THINK IT IS BUSY?
Not busy with activity, but architecturally busy.
IS THE ROOM ITSELF BRIGHTLY LIT?
It varies.
I think he's downstairs now.
He's moving around which
I didn't
expect.
Maybe he's
still upstairs and I'm moving around.
The upper part is more brightly
lit than the lower part.
Lots of individual lamps around.
. .on the ceiling and the walls.
DO YOU HAVE A FEELING FOR THE UPPER ROOM.
I think you enter on the upper level— it's big, open.
. .central court.
. .its
inside though.
Now I'm getting to remembering things.
Walking around over the church in that big courtyard, trying to get a
relative feeling of size.
In this case I'd say maybe 40 x 40, maybe bigger.
Thats the upstairs.
Proved Fo.r:Release 2003/09/1 0
: CI.A-BDP96-0O787ROQO2OOO7OOO4-1
4^.1
'AY'
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
YOU SAID THERE WERE CHAIRS?
just kind of scattered around against the wall.
ANY EXHIBITS?
I did initially.
Now
I get the feeling that that's not the purpose of the place
Just kind of there as ornaments.
I don't think
it's really a museum.
ARE THERE WINDOWS?
Again
I guess kind of ornamental windows, not clear glass, kind of foggy.
See a
lot of hatch marks,
little panes.
Big windows, maybe big oval ones, with metal strips.
I don't think they're stained glass—they don't seem to be colored—just
kind of foggy.
I just now got the impression of a very
tall lamppost.
IS THE ROOM OF ANY PARTICULAR SYMMETRY?
Seems to be square.
SQUARE ROOM.
Yes
You enter on the western end==that's where the wall isn't.
South
is the
side of the outside wall say facing the street or courtyard.
You enter from the west, and on the east is where the stairs go down.
Just now got the impression of kind of a vaulted ceiling or overhang or
partition or something.
CAN YOU TELL ME ABOUT THAT?
Seems ornate, patterned, maybe tile, colored tiles.
Blue, gold, white.
My eyes are starting to tear from keeping them closed.
: -
Y
For Release: 2003/09/1 Q
; ^CJA-RDP96-OO787ROQO2OO07ftOO4r1
’
’
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
IT'S
10: 45
Did you say 15 minutes or 20?
JUST BECAUSE HE LEAVES, IT DOESN'T MEAN YOU HAVE TO.
DOES THE ROOM HAVE ANY SPECIAL FEELING ABOUT IT?
The feeling
I get on a small scale
is
like a train station depot.
Something
like Grand Central Station.
It's not that busy,
it's just that architecturally
that's what
it reminds me of.
I get the feeling of the purpose of the people.
I just had the impression before that before Hal
left he kind of turned a
complete circle and scanned the whole place once more.
I think to walk out,
if he goes out on the western side and goes down a
flight of stairs, turns
left and goes down another flight and then he's out.
Like long thin marble stairs, not a normal flight of stairs.
Outside there's a
little brick—kind of a brick wall built in around the
building.
IF YOU GO INSIDE,
IS THERE ANYTHING IN THE BUILDING
THAT REMINDS YOU OF THE LIGHT COLORED BENCH YOU SAW AT THE
BEGINNING?
SAY, GO INTO THE MIDDLE OF YOUR ROOM AND LOOK AROUND, DO YOU
SEE THAT LIGHT COLORED BENCH ANYWHERE?
No,
it doesn't seem to fit in with the bench.
I don't see anything at all
like a work bench around this place.
I think
really all
I saw was transitory one of the places he went to
Then when you go downstairs from the upper level to the lower level,
there's a bannister on the
left and the stairs kind of curve around counter-
clockwise.
It all seems so really clear and colorful— I'll be really curious as to.
.
: ^-^^prGvetf forRelease 2003/09/10
: etA-RDP96-tM)7B7]R0002D0976004>-1
>
.,>wvc>^v
'
'
.'V.-'
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
CAN YOU TELL ME ABOUT THE COLORS?
About the stairs or.
.
.
. Mostly
I see the carpet downstairs— red with dark
blue, red background, dark blue pattern on
it.
YOU SAID IT HAD.
. .YOU DESCRIBED BLACK AND WHITE TILES UPSTAIRS
AND A CARPETED LOWER LEVEL.
Um hum
Not like any place I've ever been.
Makes me feel that I'm not remembering
it, or making a composite of things
I remember.
WOULD YOU LIKE TO TRY AND DRAW WHAT THE INSIDE OF THE ROOM
LOOKS LIKE?
OK.
My drawings are not usually very good.
YOU SEEM READY FOR THE REST CURE,
get healthier as
I go along.
I think the picture is going to have much less detail than the description.
Approviad Epr Release 2003/09/10
:: CIA-RDR96>007-87ROOOZ00070004-1
.
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
wfooMli
(XAflA*
^ M
SGI
I
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
Analysis
of Drawing
correct
correct orientation entrance 6 exit west S east
stairs go around as shown, on outside
presence of chairs in an area
columns jutting into lower area
downstairs was red with black/biue design
incorrect
checkerboard floor - was boards
square columns - were round piles
chairs downstairs, was outside ground
red downstairs was marsh grass, not rug
doors downstairs - don't exist
Approved. Fpr Release 2003/09/10
qiA-Rpp96-00787R0.0020007p004-1
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
Analysis
of Each Phrase
in
the Verbal
Description
Hal leaning against light wood work bench more than waist high,
at current time.
+
•+
+
Nothing much on the table - a few papers, small things, no really large
equipment/*"
-I-
+
He's outside, on a hill looking over landscape,
leaning against guard rail.
f*
j*
Initial impression of shielded room, then Hal grinning.
+
r
Have him standing,
leaning back*, hands in pocket
•h
Image broke up like through a prism or Kallidoscope.
+
.
.
| think Hal's involved in the show - can't tell
if he's running
it or watching
it.
-4*
_
All geometries, triangles with lots of movement
(no transition mentioned)
+
See patterns like touring an art museum
<
Hal has looked at watch for second time*
Hal
still standing, relaxed,
looking at something
Just saw him sit.
Square room,
(he's at)
, checkerboard floor, black and white, shape at
corners and fade in center
-
-
+
Something
in' center of room
- fountain or seats or both, circular shape.
J"
+
.
.
~h
Tall wall, high ceilings; entrance area by a wall partition
•+
•+•
Water fountain stuck to wall, not standing on floor.
'-7
—
/•
Marble around
it,
light fixture on wall* near peak of marble arch.
Steps leading down
_
+
”*
Circular room downstairs, reddish colored rug on the floor
Something circular - maybe chairs in a circle
t.TVTJr-
'go**.:?
- Agtfroye# Fdft|?el^ase 2Q£3/pf/lQ jisPA
^jV
Pi,
:
-i. -PpP
/' P ,/V
:
4..
^
* a^v;-
P]
P
P'~ '
Z i
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
—
4-
Hal sees in the distance - blackness, rugs up close,
like an alleyway,
bench-type chairs on each side.
4~
4-
+
place is like a movie theatre or art musueum;
tourist type place; place
you go to see and walk around in *
not a business place
"floor under Hal'is ornate dark on
light pattern
4~
architecturally busy
4-
-
?
lighting varies, Hal downstairs now, he's moving around.
Hh
upper part more brightly
lit than the lower
lots of individual lamps around on ceiling and walls
+
+
-h
entrance on upper level, open central court inside
40 x 40
chairs scattered against the wall
4-
4*
initial feeling of exhibits;
not the purpose of the place, just ornaments
not really a museum
ornamental windows, not clear glass, foggy, hatch marks,
little panes
big windows, maybe oval, metal strips
room
is square
4-
4-
4-
enter on west where wall
is not, south faces street, stairs down on east
vaulted ceiling, ornate, maybe tiles, blue, gold, white
like train station depot architecturally;
like Grand Central
4~
before Hal
left he turned a complete circle and scanned the whole place
once more^"
h
f
to go out, he goes down a flight and_turns
left and goes down another and
then he's out,
like long thin*marble stairs
^ ^;^)3f0ye4;For pelease; 2003/119/1 0
: GtA‘RDP964M>787R0002d007Q004^
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
brick wall outside built in around the building
+
the bench isn't herejthat was where he was when
I mentioned
it
;Approved Fdr Release 20p3/09/1p:f GIA^RDP96,bo7:87ROp020007p004-1
s Cvlv
:
V.
• ‘
,\
'
-r „ ;! dw
. -v^
'Jv I’i'
'v
• i
-
,s
'
- / >s
•
•
.
'*!,
" r
Approved For Release 2003/09/10
: CIA-RDP96-00787R000200070004-1
object
object
shape
environmental description
(3)
object and location
(2)
stairs location
shape area
color
description substance
object
area name
object
(3)
color by Hal
objects
(2) by Hal
ambience
(5)
ambience
lighting
(2)
relative positions
(2)
area size
ambience
(3)
windows- (2)
absolute directions
(3)
color
Hal's movements
(2)
stairs relative position
(2)
objects by Hal
(2)
Hal's location
object position
(2)
windows
(5)
windows
area shape
room description
(3)
color
(2)
analogy - location
substance
(2)
object present
track Hal from place to place
f.Approved For Release 2003/09/10
: CIA-RDP.96-Q0787R00020PP70004-1