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SG1A Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 IV RESULTS AND DISCUSSION SGI1A Table 2 shows the figure-of-merit analysis ro experiment using the fuzzy sets defined in Table 1. The target was the Po Support equipment, and testing environment. The target-response intersection is shown as IT AR], 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. .ot 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 3 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 2 FIGURE OF MERIT SUMMARY: SIMULATION FUNCTIONS 8 10.00 11.40 12.43 0.88 0.80 0.70 RELATIONSHIPS 16 15.05 21.95 23.45 0.69 0.64 0.44 OBJECTS 48 46.20 56.70 72.92 0.82 0.63 0.52 All figures are to be taken as indicators of qualitative correspondence. The drawings and photographs have been selected to illustrate the correspondence. 10 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
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Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 After SRI personnel had been debriefed about the target, a second long-term participant, VO0O9, 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 vOoO9 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, VOO9 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 VOO9’s theme. Interestingly, vO0O8 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. 17 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
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Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 APPENDIX B Remote Viewing Response (Transcript) August, 1988 B-1 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 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, possible details of any equipment and some idea of personnel involved. Vv; The first impression I’m getting is, what I’m going to do is use a pencil and then darken it in afterwards, M: Sure. V: getting an impression of a, like a semi-circle that’s open over here and there’s some kind of a square block or something standing over here. This is really large. I feel like its kinda laid out on the ground in some way. Coming off of this semi-circle type 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 like two forms ' that encase a small hole, hole is not a good description, they encase a, some kind of very specific wire or something, I feel like its really tiny but its imbedded in this like, I want to say crustation, its wrapping or, very dense wrapping, its like this a, actually there’s a couple of them. M: A couple of these objects? V: Yeah, call those object B, the first part of the drawing is object A, the one with the hairs coming out of it. This is a, this goes back into something, it isn’t very large, maybe, well I don’t know, Say two meters, two meters long. Its out of scale here because I think its size left to right up and down is maybe six by four centimeters which makes this look like a dot in here, very tiny. A little tiny core material that goes back into something. This outer wrap is, I get the feeling, very dense and the inner wrap is less dense, almost like the inner wrap is somewhat disposable and the outer is fixed. I'm gonna put disposable with a question mark because it feels like it. Actually this disposable is an interesting thing, I'll write that down here. How do you spell it? B-2 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 M: I know what you mean. V: We'll check the spelling before I darken it in. M: We're not in our Spelling mode right now. V: Yeah we're not in the spelling mode. Actually this is totally separate. I'll draw a line between the two. Anything above it seems to be, lets call it a ground focal hrea, its specifically laid out for a something, for, I want to say collecting something but that’s not correct. Its laid 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 laid out on the ground. Let's call B up here B1 this is B2. It looks like the A object in that its round but its like totally, the ellipse is not open, and all these little hairs go around the outside, kind of a collector here or something. 1 keep trying to think of a different way of presenting this, I’m not sure of the appropriate, I keep trying to cover it and I come out with a, almost like the inside of a building but its not, its connected like a web or something. I keep wanting to do this (draws circular motion) and then wanting to do that (draws arrows shooting off). M: What's the sensation of that? V: 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 fibers are a, real specific, they probably have something to do with B1, they either feed into or out of B1. Also I’m getting a really strong impression of a, some other things, like one thing I’m getting a strong impression of is what I call extreme short durations. We're talking observing something 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, if you were to call these successive steps there’s one missing, its almost like, I'l] insert it here, double boosted and over here triple boosted, something like that. Over here I'll draw this, I’m trying to describe this, this cutaway of Bi, it a, what I'm trying to do is a, an exploded view of this thing, I have no idea if its gonna work or not. I think the way to do this. is to draw it sideways so it looks like a cutaway. Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 M: This part back here where its connected to somethino?
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 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 J 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. Vv: Yeah. M: I did have one question. What's the scale of this. Vv: 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. B-4 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 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 looking 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. B-5 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 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 2 drawing) (White noise begins at this point and drowns out the voice audio). ; B-6 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 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. mo Vv: And, IJ 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, J 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, 35 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. B-7 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 M: OK. Vv: 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 fetling 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. V: 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 fram 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... B-8 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 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, there's 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: +80 it’s almost hermetically sealed... M: Yeah. V: when it comes together. M: _ So these two would kind of like fold together like that. Vv: Yeah. M: OK, got ya. V: Yeah, so you can say, you know, M: Yeah, um, hum. Vv: 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. B-9 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 Vv: 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. Vv: 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 gross! Uh, we'll call this Part A, third drawing. Part 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 heart of this thing. M: Um, hum. B-10 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9
Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9 V: And the symbol is like the old nuclear symbol, but it’s like propeller patterns. Like this and this, like really heavy duty stuff in here. I mean really heavy metal type of stuff. And then this comes out in a very narrow little neck like this. And then this, this whole thing as it comes out is like this entire case stop has been, you know, this this part here... M: Um, hum. V: ...is like inside a really hard shell, like a, like a giant pill, a metal pill. And this comes down like this and you got the. It’s starting to look really strange, you got that spoke comes out like this. M: Um, hum. V: And it does something like this. M: Now that’s like a cross-section. V: That's like a cross~section, Part A, Part B is like. Now. Looks like a giant pumpkin. A little fancy metal pumpkin. There’s something else, there’s like a double band that then comes around the outside of this entire thing like this. M: Um, hum. V: And then there’s some kind of an apparatus that fits out over this nozzle. 1 don't think there’s one of these at every crease. There’s only a few of these. But I feel like there’s more of the central fibers than depicted. M: What are you calling a central fiber here. V: That's that... M: Oh, OK. V: The little, dark, dark, black thing. M: ~~ Yeah, right. V: There’s more of those. B-11 Approved For Release 2000/08/07 : CIA-RDP96-00787R000300290001-9