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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION DC-49
1.
(S/NOFORN)
This report documents
a remote viewing session conducted
in compliance with
a request for information
on
a designated target area.
2.
(S/NOFORN)
The remote viewer's impressions
of the target are provided
as raw intelligence data,
and as such,
have not been subjected
to any
intermediate analysis,
evaluation
or collation.
Interpretation and use of
the information provided
is the responsibility of
the requestor.
(S/NOFORN)
The protocol used for this session
is detailed
in
the
document Grill Flame Protocol,
AMSAA Applied Remote Viewing Protocol
(S),
undated.
4.
(S/NOFORN)
Following is
a transcript
of the viewer's impressions during
the remote viewing session.
At TAB
A are drawings made by
the remote viewer
reference his impressions of
the target site.
At TAB
B
is target cuing
information provided the remote viewer.
At TAB
C
are control analyst questions
and comments during the session.
NOT
NATIONALS
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V-*V:s
Rr-Z A v
kid
TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION DC-49
This will be
a remote session
for 1100 hours,
18 December 1980.
PAUSE
Relax and concentrate now.
Relax and concentrate,
relax.....
relax,
relax.
Focus your attention on the stadium area m
the
photograph
I have shown you.
Foetus your attention solely and
completely
in perfect detail on
the stadium area
in the photo-
graph
I
have shown you.
PAUSE
Holding your focus,
holding, your focus,
relax and concentrate.
Move now through space and time
so that you may perceive
he
stadium area 220Q hours,
2200 hours,
10 December
1980.
Move
now and report on
the stadium area,
10 December,
o
c oc
a
night.
PAUSE
, I'm in an
infield;..
All riqht.
As you stand now in the infield look all around
you
as you stand
in the infield.
Look all around the stadium
.....ask yourself now
10 December,
10 o'clock at night,
10 December
10 o'clock
at night
in the stadium,
ask yourself
for information about the stadium area of interest to intelli-
gence.
Describe your impressions
to me.
Have
a,
ah,
there's some sort of something
goin'
on here.
I've
got.... when
I
was out
in
the infield
I was picking vup.
a sort of a,
had the feeling the lights were
on,
and that they
were on
not everywhere,
but on one side of the... there were
people but it was like some sort of
a meetin g or rally but not,
not
the whole place occupied.
PAUSE
Narrow your focus
a bit.
Narrow your focus
a bit and discover
to which area of the stadium are you attracted when you ask
yourself
the question concerning intelligence interest.
PAUSE
Umm.
.
. I working at a... the area of attraction
is
the.... it’s
ah,
I'm standing right along side
a retaining wall
that,
ah,
edge
the infield,
and... on
the,
on the
I
have to go up
to find
out.
It's on the east side of
the stadium.
Ummm....
I'm qoing to go back down
It seems like
I’m closer
to
the
-
-
T 'm closer to the north
end,
than
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it seems to
....I'm closer to the north
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PAUSE
+10
#31:
I
keep
tryin'
observe
1 that which
is of intelligence interest,
and,
I'm continually always attracted
to this area up
in
the
bleachers. ....
PAUSE
I
keep seeing the bleachers,
and
I
keep getting the feeling
that this smaller group
of people
is
a thing of interest.
#66:
All right.
#31:
But
now,
when
I
just
got. here
I don't believe there are
people, because
I
just... I went to
a seat in that area,
and
looked down
the seat,
and there
seats are empty.
I don't
know what I'm doing here,
but,
ah
#66:
All right, I
can help you.
#31:
Maybe just the people part might
just. be overlay.
#66:
All right.
I
can help you resolve
this situation.
PAUSE
Allow
yourself now,
to be attracted
to this area which
appears
to be
an importance.
Move now over to
this area,
now,
when
I
count to three,
you'll be able
to look down and
see through the seats and see underneath the seats in the area
below the seats.
Watch now,
as
I
count three,
and you
11 be
able
to see through them to the area below the seats.
One, watch carefully,
two,
three.
PAUSE
#31:
Ahmm...
It seems
as though I'm in some sort of a hallway.....
inside..
got like bare cement walls and things,
ah....
corner elbow and
a staircase*
#66:
That's fine.
Proceed now to
the area of intelligence interest.
Move down this hallway.
Search out.....
PAUSE
#31:
I'm in
a room that has
a
sort of
a large room
I
feel that I'm on one level down from where
I was before.
But,
it's
a
it's got
a
let me look at it again.
....regular
piles,
pyramids
of boxes,
ah.... on pallets,
ah....
Like several
I've seen several
of these.
Like four
o r f ive
in
this
room.
PAUSE
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#66:
Describe
the contents
of
the boxes to me.
PAUSE
#31:
Keep getting
a,
ah, -gseeney- (phonetic)
granular,
too heavy
to be
a powder;
too big grained
to be
a powder.
It's more
like .. .something about the texture
.kitty
litter,
but
it's not dry.
It's. ..not wet;
it's.
. .like.
. .about like a...
while I'm working on this stuff,
I
see
a, a thing that
looks
like an open suitcase. .. .old fashioned,
open suitcase,
sitting
on a table.
This
is like a..... ..no,
not
like the consistency
of.. ..fresh,
fallen
snow,
if you pack it a little
bit,
it'll
stay,
but,
then the minute you drop
it,
it'll fall apart.
That's what this consistency
is,
and
I
keep.
. .seeing it as
being this bluish stuff,
steel blue,
bluish color,
bluish
color.
PAUSE
+21
#66:
The description you've provided me
.....may appear
different
to you.
If you can control your perspective
of
it
in your mind,
allow yourself
to move back away from the
contents,
and see them from the different perspective.
Proceed.
PAUSE
#31:
Umm. .. .looking at a block.
It looked
like about,
ah,....
small loaf of bread size.
Little rounded... on the edges and
corners;
oversize brick size.
PAUSE
#66:
...you ready
to move now
to the infield area again?
#31:
Aha.
#66:
Okay.
Remembering now,
10 o'clock at night,
10 o'clock at
night
in
the infield area,
I want you to
look at the next
4 hours from now,
10 o'clock at night,
10 December,
look at
the next 4 hours and describe briefly
the activity that takes
place.
Describe for me
if there
is any activity
in the next
4 hours
PAUSE
#31:
Just don't get any feeling of movement in
the arena or out
and around in the bleachers.
I
get a feeling
of movement
over
in
this
funnied
up- area,
down
in under the bleachers.
It's internal in the building.
It's not
out.
It-no exposed.
Some kind of activity that goes on over there.
Inside.
Not
outside.
#66:
Report this to me.
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#31:
People,
several people
cornin'
and
going.
Actually,
it was
like,
more
a departure,
like two people,
one
o r two people
departing.
Like they had been here all along,
and now are
leaving the area.
Like
they had done,
to do,
prepare something
were here when
I
first got here,
and,
so,
then,
the thing that
changes
is
they
leave over the next,
. .period of time.
They....
ah ....
+25
#66:
Describe them to me.
#31:
....like wearing
a
one
that. I
saw wearing a suit,
wearing
a gray
suit of some older style.
. .feeling of
like a.,.. older
....I'm reminded
of like
the suits of the
50’ s.
He|s carrying
that round briefcase.
Rounded
....old fashioned briefcase...
he's leaving
earlier
I'd seen this
briefcase having
the squares put in it.
It was as though
I don't know
if
it's.... the squares they were being loaded
in it like
they're
like bricks,
and they were like.... I
don't
know. ... .when,
when
I
thought they were stacks
of bills,
but at the
other point there,
I
thought they were
like blocks
of,
blocks of this funny
stuff
that
I was talkin g about,
being put in a brief— suitcase.
:
-
#66:
Okay.
#31:
That was before;
but now
I
think
I'm getting is this
guy
leaving
with
a suitcase.
#66:
All right.
I want you to relax and concentrate on him for a
moment,
and focus solely
and completely
on him.
Look very care-
fully
at him.
Spend some
time with him without reporting while
I
check with control.
PAUSE
#66:
Describe for me
then,
this individual who carries the briefcase.
PAUSE
#31:
He's a.... about 5-8... ears sort of stick out a little bit,
and
+32
he's
got a..... I'm gettin'
these feelings of like a short hair,
crew-cut, aty
blond,
light blond,
but it's
a
not really
a
crew-cut;
it's more like
a
a butch,
but... guy's ears stick
out.
Salmon,
caucasion complexion,
almost cartoonish,
roundness
to his face,
his head.
#66:
All right.
Let's prepare
to move now.
Remembering your time
window,
remembering 100,
10 o'clock at night,
2200 hours at
night,
10 December,
move now up,
up and over
to the dark building
I
showed you
in
the photograph.
Move now from
the stadium area,
2200 hours,
10 December,
move now in this same time window over
to the dark building.
As you arrive at the dark building ask
yourself the question,
what is
it of intelligence interest in
the
+35
dark building.
Move into the area and describe your impressions
to me.
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#31
6-00788R000500750001 -5
Keep seeing -wood- beakers,
and eye droppers
in
a white lab coat.
Like
a chemist
or
a pharmacist or something.
#66 :
#31:
#66 :
#31:
#66 :
#31:
Okay.
I
always .see him sitting at
a,
a long type
of counter,
and like
an old^ight lineoleum counter somewhere.
Something technical
and glassware all around him,
and like chemistry would
be.
Okav
Fine.
Focus your attention now,
back here,
on me
in the
room
Let's prepare
to draw those eprceptions that you
ve
seen.
F°cu; yZl attention back here on me in the room,
move your arms,
move your
legs,
take
a few deep breaths,
prepare to draw.
Okay.
Certainly.
All right.
Ves,
go ahead.
I may interrupt you with
a question.
Go ahead.
Drawing number
1.
Drawing number
1 is an overhead of the
stad:ium:area.
As fares
mv trvinu
when you told me to go
on
up,
try
to figure out where
I was,
I sort of imagined,
you
know,
I remembered tha
ere was
a north arrow right in the middle of the target.
_
So,
I
t
f
imaqined that that north arrow was still there,
and where h
been
to that.
So,
I would have been
in somewhere up
in the
northeast end of the stadium.
Now,
this place where
I spent most
of my
time was hanging aorund outside this damned wa
own
the bleachers, but on the infield.
#66:
This is drawing number
2,
now.
im .
r rom there,
this is drawing number
2,
from there,
I
couldn
t
figure out if there were people
in the bleachers
or
I
knew
it
was after dark because you had given me 10 o'clock time
and
.
rlirln't
tell if the lights were on or
not,
but
Thad the
feeling,
first that there was
a small group of people
L there
in the bleachers.
This small,
small group assembly
came through a number of times, because even la ®r J?"
£
n
j
k
t
session
it
came through at that other place.
“ght.
I kept^^
askinq myself the abstract,
you know, what is it that
.
f
.
qence
interest here.
Okay.
Well,
catty corner across ^he infiel
•
i
no lame
enoucih to
accommod ato
3 vehicle
an^looke^down^the'^bleachers^there^wer^nobody'J S.reVasn't
anybody in it.
Okay.
So,
I presumed that there were no pe-
no small, was no small group of peoP^°fside.
And, what
T
\i/nci interested
in was
on the other side
of this b
that
runs
around the interior of the bleachers
well somewhere
in there
of course,
typical,
what you would expect to Tin
? Tn r
of
a
large door
to it... that had three stacks of boxes m
.
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#31:
The pyramid,
parametal,
stacks of boxes on pallets.
The box
which
I've drawn
in sketch
3,
all right,
and these are pallets.
They were pretty neatly stacked,
you
know.
It was
like
a
display
stack.
Stack of stuff you'd see in the grocery store.
I
figured,
well,
umm, what is this stuff.
This must be cleaning
supplies.
With my
luck
I
entered
the warehouse, you know,
of the
stadium
or something
like
that.
Anyway,
I examined the contents
of the boxes
in great detail,
and
it was as though they were
foot by about
8 inches by
8 inches.
Made out of regular corrogated
cardboard,
and that contents was like
a,
small granular,
but mushy
granular blue.
Not hard granular like sand,
and not mush but no
granular
like re-fried beans.
It’s,
it's granular like corn,
ah
meal to which water has been added
to make tacos,
tortillas,
rather,
you know.
It still has the cornmeal granual but it's sort of mush.
It's not
a constant paste.
#66:
Okay.
I have
a question that seems obvious to me
to ask this
question,
and
I want you to answer from your perspective,
because
you went through this experience yourself.
Is it possible that
this material that you're describing
is
a packing material as
opposed
to the actual content of the box?
That this
is some
sort
of
a,
you
know,
these styrofoam packing.
#31
-
No.
I
don't think
so.
No.
I don't think,
no,
no.
It
was moist.
It was not
like dry styrofoam packing material.
#66:
Okay.
#31:
It was like
I was trying
to explain there with the tortilla,
before you’re having cooked
the tortilla, but having made the
tortilla.
When you're using cornmeal
it still-has its granual
and the granuals are puffed up because they have water and
they're
soft.
The feeling that
I
got,
coloring feeling that
qot was that they were electric blue,
it was an electric blue.
Ah,
how do
I describe electric blue? The base color,
when all
of
it was stuck together was
a very,
very electric blue.
Eye catching
blue,
is what
I mean,
but as you got less and less and less
ot
it,
the color would fade out to be like Columbia blue.
The other
feeling
I
had was like
if you scratched
it,
the nice smooth
surface of the brick,
let's say,
if you scratched
it,
then what
you.. it would be darker on the outside where
it might be
a little
dryer,
but when you put your fingernail in
it,
that the
stuft
you scooped up
in your fingernail would be
a paler blue.
Okay.
Like running your fingernail along,
sss
Putty»
or not putty
...oh,
that kid's stuff,
silly putty,
or not silly putty.
What
the hell is that machine that they make everything out
of with
clay?
#66:
Mr.
Playdo?
#31:
Playdo!
That's what I'm thinking
of.
Playdo.
You know how
playdo is?
And,
it was about the consistency of playdo.
#66:
Do you have the feeling being around this stuff whether this
is edible
or not?
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#31:
#66
:
#31:
#66
:
#31
#66
#31
#66:
#31:
#66 :
#31:
No.
I did not think it was edible.
It never entered my mind
that
it was edible.
It was something like cleaning.
That
s
why
I
got thrown off on this,
ah,
cleaning supplies,
or store
room supplies feeling
But,
at the time it never occurred to you that
it was edible?
No.
Okay.
And,
looking back
at
it
now,
No.
Okay.
Let's go on
to the next drawing.
Okay.
So,
anyway,
there's these pyramids,
three pallets,
and m
this room is where this feeling
of sketch 4 happened,
and that
las,
I
think it was somewhere
in that room,
anyway,
that,
somewhere
in the room,
and
I had the feeling it was like happening right
on the o?h”; side of
a pyramid fro™what
I wa...that
I "as looking
at at the
time,
and
I
sort of went,
zipped over there,
that there
was this dusky
gray,
and brown crummy,
round
icornered,
ol
-
fashioned hard cased,
suitcase.
You know,
the types that a got
the wrinkled exterior
on
it from the mid-fifties type of thing,
and,
you know the type that you
could almost nowadays expect
?o see tied togethei with
a belt because the l^ahes don't work
on it anymore.
Anyway,
in the suitcase
I saw the suitcase laying
on the table,
suitcase was opened,
there was
a layer of white
in the bottom of the suitcase,
as though.. it seemed
like
wasn't very far down from the
lip.
It was as though someb
Y
clothes
in the suitcase,
and the action that
I
saw was that
smaller,
brick sized..things like
a red housing brick.. about
inches by 4 by
4,
were being taken from the pyramid and were^bemg
laved
in on top
of the clothes m the suitcase.
As though,
and
they weren't being hastily packed
or anything,
but they were being
layed in there.
The bricks were being layed side-by-side.
When
I first looked at it,
I thought it was,
you
know,
it sort
of
reminded me of the classic bad
guy putting tbe f^aeks of g^njiacks
in
a suitcase before he makes the getaway.
Right.
b
jus? “Siting idea,
and. I think it was just
a conceptual type
of
message that was being given to me.
Okay.
The objects placed
in
the suitcase were of
a different size
than the ones stacked.
Than the ones that are in the.. the things that are being placed
in
the suitcase are smaller than
the boxes that are stacked
pyramids on...
I
understand.
Okay*
I
don't know
if they
come out of htose boxes or where they
come from.
They,
themselves come
out of a stack.
Ukay.
Fnur.
five.
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#66:
Drawing five,
whan
I asked you
to. «. moved you
to the dark
building.
.
#31:
The dark building.
There was
a empty basement room with
lights along like street
level at high,
my head,
and you
moved me upstairs... I haven't done
a sketch
of upstairs
in that building,
but,
then upstairs,
Ihthink,
which
would be ground floor level,
there's some sort of
a wide
area.
Like maybe
a conference hall,
but it's with a stair
some sort of a staircase
or ladder arrangement at one end,
and some sort
of
a circular pattern
like
you know what
I was reminded
of that goes around this room,
I was remmde
of,
ha,
independent tracks. that had. walls in between them.
Like
let's say when you
raise turtles,
okay, when you
raise turtles,
you'd have
to,
you just couldn't put the turtle
down and
let
it run,
you'd need
to keep
it like
a rat in
a
maze, you have to keep
it
in
a maze,
something,
and there was
some sort of partitioning of this
business inside this
room.
Okay.
#66 :
#31:
#66 :
#31:
#66:
Okay.
Ah,
like,
umm
okay,
like
a
cafeteria line.
You know.
Where
it goes back and forth,
back and forth,
back and forth,
and it's got
.metal partitions m between the
lines.
From what perspective did you perceive this?
From a
low lateral
(phonetic).
Maybe
20 feet,
10 feet off
the floor.
Sort of looking away
on my
right,
and
I
m sitting
here inside this room,
and there's this thing going.
. ...about
five
or six partitions stripes going away into the distan
right.
Could they have been lines
on the floor
as opposed
to walls?
#31:
#66 :
#31:
#66 :
I
think they might have been.
Okay.
You
just described them as stripes.
I wondered
if
you
Yeah, the pattern was striped but
it appeared that
it had depth
to
it.
I
don't know
if that was true or false that it had depth
to
it.
It appeared that it had depth
to
it.
And,
therefore
having depth
to
it the stripes stuck up
like walls,
and the
shadows stuck down like passageways.
Okay,
and six
Okay.
We seem
to focus
on one particular individual there,
and you had some things
to say about him.
You said he was
academic and his ears stuck out,
among other things.
Do you
talk now about this drawing that you've done,
and your experience
with him?
wvg
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#31:
Well, what you had me do in six is describe the imagery
that
made me
say
that
I
thought that he had something
to
do with
chemistry
or some sort of laboratory work,
and this
is what
I
saw.
I
saw the
guy
that
I thought
to be him dressed differently
in
a right type
lab
coat,
little bow tie,
really nurdish,
and
he's... ..like with an eyedropper dropping goop
in some big,
fantastically
odd shape beaker on
a desk,
ta-working table,
and to his right there's all sorts of glass beakers,
jars and
frames,
and wires,
and all sorts of
other apparat—
para-
phernalia which... the
likes
of which
I could never begin
to
draw..
. .that's his occupation.
#66:
Okay.
Going back to
going back to him, when you perceived
him at the
#31:
#66 :
#31:
#66 :
#31:
Meeting,
or whatever
it was.
....the meeting, which was
18 December imagery. .. .tell me about
some
of the people
that were with him.
Men and women.
They were dressed. .... .they were academics.
They were academically oriented,
as well.
They did not come
across as being an assortment
of shipworkers,
and dock workers
and students,
and teachers,
and everything.
They all came
across
but,
this neighborhood feeling of a representative
cross- section
of
a group
of people around also came through.
They were dressed up
a little bit.
Like you would
to
go
to
a
Sunday afternoon church social type thing.
You wouldn't wear
levis down
at the heels,
shoes,
you'd put your suit on,
you
know.
Your business,
your daily working suit on.
They seemed
to be middle aged.
I'd say the youngest was maybe
30.
I
had
the feeling that this,
the room was 30
to
60 as opposed
to
teenager to any other level.
This guy seemed to be some sort
of
a presence,
but he was
a real ba-,
he was
a mean
guy.
l
e
........a martinet
'
;
,
call him an academic martinet
,
a peevish,
in the sense that little ego
centric,, and expected
everybody
to do what he wanted them to do,
and he was brilliant
in his own right,
and now it was time
to knuckle down
on these
turkeys,
and they were going to do
it his way.
Okay.
Returning your attention now to the work environment
which you perceived,
the beakers,
and everything,
do you have
any impressions about his work associates
•
No
I
felt that this meeting was people that he was associated
with,
but no,
I
said that that's like
a block meeting,
but
they're
all the same type of people.
It would be as though this
guy comes from
a
oh lord
an isolated environment
in
which everybody
is all the same.
You know.
Like
an academic
community.
But,
when
an academic community has
a blocks party,
committee meeting,
or something like
that, you
r:ddn
f t'-m'tfe
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#31:
stevadors and dock workers#
They all-happens to be academians,
because they're
the only ones that live in that community.
So,
even though the purpose
of the meeting might not have
anything to do with academics,
you're only going to get academians
there,
you
see.
Because they represent the neighborhood
type of
thing.
So,
I don't know.
That's the feeling
is that they were
all academics.
This meeting was something
like
this bring them
all together. .. .bring representatives all together from everywhere
else,
and other than
that,
it's all conjecture.
I
don't
know.
#66:
Okay.
Returning now,
specifically
to your drawing where you
draw him putting things
in
a beaker,
you
said,
before,
that
you thoguht,
to you
that looks
like
a chemist.
Ah.....
Do you have
any strong feelings about other professions that
this image is communicating to you?
Any other possible professions
that this kind
of a thing might mean
to you?
You said before
that you thought he probably was well
educated,
and brilliant
in his own right,
and
so forth,
and so on,
and that he.....
#31:
Well,
he could be
a physicist, chemist,
he could be
a pharmacist.
What else could
it be?
#66:
Okay.
So,
that's
that's
the feelings that you
get when you
think about this image,
is what you're saying.
#31:
Right.
I
don't get some
guy who mixes paints for
a living.
It's
you
know,
I don't get some
guy
that shoes race horses.
I
get some
guy that's
like
in the physics or doctor
or research chemistry
•
•
•
• 3h j •
•
•
#66:
Some sort
of
a higher
level professional
type person.
#31:
Right,
right,
definitely right.
#66:
Okay.
Fine.
Let's move
on
then,
to your final drawing here,
and explain
to me when
it was that you got this image.
This
is,
I
guess again,
the
18th,
18 December?
#31:
I
don't know.
You had me working
on
constantly asking
myself of asking
the question of
look for what is... you know....
what
is
of intelligence interest here.
That was
a good
question,
quite frankly.
Ah,
this
is
I
think associated with
the dark building,
and
I
think
it has something
to do with the dark building.
I
don
t
believe that
I
got off the target.
#66:
In drawing
7.
#31:
In drawing
7.
I
have
a car coming up and stopping and then
somebody,
and
I
think,
lifcfs maybe our
guy here, who got me
started,
see,
in sketch
6,
this
guy
like arriving and
going
in through the building through
a set
of glass doors
in the
building front,
and the building has these peculiar T-shaped
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#31;
*5
l
,
,
?
-
••
;l
.
i
J
blocky iT-shaped ornamental,
ah. .. .pillars.
Those pillars
are outside,
and
I
did not.. they might hold up
a roof,
but
I
can't believe they held up
a roof, because
I
thought
they
were ornamental pillars outside
in this... in this.
• .concrete
...area here,
between
the
road and
the building.
All
right.
#66:
What
is it that attracted your attention
to these strange
#31:
Well,
I'm sitting around,
you
know.
You're telling me,
tell
me what ha-,
tell me
if,
you
don't,
you didn't say
tell me
if anything happens.
You just said tell me what happens
of
intelligence interest in the next
4 hours.
So,
I'm okay,
you know,
sock
i t to me,
what's going to happen,
and this
...I
see this car drive
up,
and this feeling that the
guy
gets out and walks
in
through
the front door.
#66;
Okay, but again
#31:
Now,
if that's
of intelligence interest,
I
don't know what
message
is being conveyed.
#66;
Okay.
#31;
I
think that that
give me
a chance,
huh.
^
#66:
I'm interested
in,
I understand you're response.
I'm
interested in what is
it that attracted your attention
to
describe the T-shaped objects
o r this one shape object.
#31:
It's
the area.
That's the only
reason.
It's
a characteristic
of where
this event occurred.
That's
the only reason
I've
written
it down.
#66:
A key descriptor.
#31:
It's
a key descriptor
is all
it
is,
and that's,
umm....you know.
Anyway,
the guy
goes inside,
and that's when
I began
to get the
feeling of this little meeting that this martinet was having,
that had these other people around that were
30 to
55 years old who
were all sitting around and he was sort of ... .getting his. ..
getting his jollies telling these people what to do.
The
neighborhood block party
feeling,
block meeting feeling,
you
know.
So,
the only
reason the T-shape thing......
#66:
Again,
I
#31:
...so 7 actually precedes
5.
I
mean
it precedes
6.
It
should
go
5,
7,
6 in order....
#66 :
I
understand,
because
I asked you abou t this profession after
this point in time.
Ah,
I
have
a couple
of questions about
drawing
then.
#31;
Okay
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#66:
Umm.
. . .again you mentioned that he,
this feelin g of
a block
party.
Am
I understanding you correctly
that you used that
term to describe
a group
of people with similar identities
and goals.
#31:
No.
I
used that term as though it’s like
a city block.,
warden meeting.
#66:
So,
that you
#31:
That's what I'm talking about.
Now,
it just so happens that
they all have similar ideas and goals because they all come
from an area which
is academic in nature.
#66:
Okay.
So,
you do feel then there
is some geographic
#31:
Contigu
contiguity
#66:
Conti,gUji-ty>y
in these people.
#31:
Yes.
Right.
#66:
I understand now,
okay.
#31:
Yes.
That's what I'm trying. .. .when
I
say block party
I mean
like block warden meeting, business not associated
with real academic professional business,
but some other
thing that has to be done on
a monthly basis or
#66:
Okay.
Does this man
on here
that you've described,
this
professional man,
have any authority
in the situation he was
doing?
#31:
Yes. ...
.
#66:
Formal authority
or
#31:
Yes.
#66:
Formalized authority.
And, what
is
it you experienced that
makes you
say
this?
#31:
'cause he had them all under his thumb.
He was the.... he
didn't have
to ask
if they would do something.
He didn
t have
to be diplomatic about having something done.
He was,
ail ngh
,
now we're going to talk about this.
#66:
Okay.
Ah,
when
I asked you previously
to focus on
a,
a focus
personality,
was there someone
on which these people were
focused?
You
said there were like
a group
of people.
When
this man arrived
in the
car,
do you feel he arrived alone?
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#31 s
# 66 :
#31:
#66 :
#31:
#66
!
#31:
#66
#31
#66
Yeah.
I
do not feel that
he was chauffeured
there.
I
feel
that he was
taxicab'ed
there,
and that he arrived alone.
Aha.
And,
in the meeting itself,
does he share this authority
that he has
o \er these people with
other individuals?
Just
from your feeling of
the attitude
in the meeting.
I'm trying to remember who
I
saw up on the dais,
or whatever.
Up front everybody
was looking
at
There was someone else up where he was,
where he was
like
at
the one end of
the
room.
It was almost, somewhat of a
confrontation type
thing,
you know.
People looking at each
other-s,
sittin g across from each others,
and
I
seem to recall
there being
a feeling
of one or two other people,
but lesser
sitting on the left side.
One
of them was
a woman,
and then
on
the right side was
the rest
of the people that were getting
dictated
to,
but that he
in reality was the biggest
guy,
but
like the woman and the other person at this meeting might be
like
the,
I
don't know,
local senior committee members.
So,
therefore they
get the right
to sit up there with this
guy
who comes
in,
who is the non-local senior,
super-senior
committee member,
and
so it’s
a matter of protocol that they
would sit up there.
But,
not necessarily shared leadership.
Okay.
These T-shaped structures.
I'm sorry.
You called
them sling shot shaped structures.
Do you feel that as they
sit there in this entranceway,
are they
a permanent fixed
thing or are they temporary
in nature?
Aha.... two rows
of,
I
thought two rows
of
them,
and they were
permanent.
I had the feeling they were made out of concrete,
and that they were sunk in
the.
sunk
in the concrete
in
this little walkway
there.
Okay.
An integral part of whatever was happening right
there.
Yes.
And some,
and
a key feature....
And
a key feature by which....
(mumble)
#31
Yeah.
#66 :
#31:
#66 :
Okay
With or without
a roof.
I
don't
know.
You draw there
in
7,
ah,
him arriving
in the car,
and you
saw some people leaving as he's arriving,
and so forth,
you
talk about people coming and going.
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#31:
Yeah.
There are people coming and going,
and there are
people waiting.
There are groups of people
on the right
and
left of the street,
of the scene
25 or 30 people
on the left and 25 or
30 people on the right.
Not
2 and
on each,
but larger numbered,
but not
a mob,
but
a bunch of
people who are there watching the arrival and the departure
of these people.
#66:
Aha.
Now,
during the meeting itself,
do these comings and
goings continue?
Do people come and
go during the meeting
itself?
#31:
No.
I don't.... I
can't answer
that.
I
did not
thing,
I
didn't,
I
had the.... I
didn't have any feeling that would
make me say that the comings and goings continued.
I
had the
feeling it was
a fixed
group
in time meeting.
#66:
Okay.
I know that we didn't ask you to pay attention
to that
at the
time.
I
just wondered
if you recalled.....
#31:
Yeah,
but
I didn't have
no,
I didn't have any feeling
of
fluidity
of
the group.
I
had
the feeling that it was
I
sort of assumed that
it was static.
#66:
Okay. Do you have
any feeling about
the identity of
the group
of people at all?
#31:
No.
#66:
Okay.
I don't think that there's anymore information that's
going
to be available to us.
So,
if there's anything that
you have to add about your feelings about this session,
how
things went,
is there anything that you can,
ah
#31:
Aha.
I was very..! was deep,
and
I felt good,
but
I kept
looking for something, and there was nothing there.
Very
little there
to talk about.
#66:
In asking yourself the question,
what's
of intelligence
interest,
you didn't
get very many answers,
I
guess that
s
what you're saying.
#31:
Yes.
That's right.
Knowing also,
of course,
as we know,
that
that's
a dangerous question
to have
to ask yourself.
#66:
Certainly.
#31:
Because you create your own interest that you
look for.
#66:
Sometimes we have
to use that methodology,
but we don't
#31:
Yeah,
I understand.
That's why
I'm sort of back out of the
situation here,
because
I
just could,
did not see anything,
you know
#66:
Okay.
Well,
that'll do
it then.
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