SUMMARY REMOTE VIEWING SESSION XXXIX

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900340001-6
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 18
• Document Creation Date: November 4, 2016
• Document Release Date: March 27, 2000
• Sequence Number: 1
• Publication Date: January 1, 1978
• Content Type: REPORT

Approved For Release 2000
INS COM
GRILL FLAME
PROJECT
P96-00788R000900340001-6
SESSION REPORT
CLASSIFIED BY: Director, DIA
RV EW ON: 31 May 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
Approved ForRelease200S? EL-RDr96-00788R0009003
GRILL il.64,Ap
Approved For Release 2000/SECETRDP96-00788R000900340001-6
SUMMARY ANALYSIS
REMOTE VIEWING(RV) SESSION XXXIX
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 target correlation provided by the remote
viewer was moderate. Many target correlation factors were
readily recognizable. The remote viewer appeared to be
very relaxed, in a good mood, and highly motivated through-
out the entire session. The viewer stated that the images
he was receiving appeared very clear and well defined. At
one point the viewer expressed great concern over the feel-
ing that he was located several stories high on a structure
and could not see a railing that would act as a retainer.
The remote viewer's level of confidence was very high
during and after the session.
3. (S) The protocol used for this session was modified
from that which will be used in later training. The protocol
to 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. This session's
protocol was modified in that a randomly generated, pre-
selected target was not used due to the unavailability of
the target pool. In lieu of a randomly generated, pre-
selected target the "outbounder" or "beacon" simply chose
a site which, in his opinion, was unique and identifiable.
4. (S) Following is a transcript of the viewer's impres-
sions 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. At TAB C is a post-session interview.
Approved For Release 20 ' . IA-RDP96-00788R000900340001-6
Approved For Release 2000/ P96-00788R000900340001-6
TRANSCRIPT
REMOTE VIEWING (RV) SESSION XXXIX
TIME #14: This is a remote viewing session. (Edited for
security.)
PAUSE
#14: Okay, #44, #66 is at his target location. Go
out there with #66 and describe what you see.
PAUSE
+01 #44: Lower case letter "h". . . I don't see it attached
to anything. I just got the lower case letter
Hmmm.
PAUSE
PAUSE
+02 #44: Why don't I ever get easy ones to draw?
There is a shape. It begins to the left
and projects to the right, diagonally in front.
PAUSE
I have to stop and draw this.
PAUSE
A very curve-a-linear form. It is attached to
a number, upright of some sort. . whether the
upright is . . a pole or part of a wall, I
cannot say. The curve-a-linear form appears to
project out perhaps a little higher than table
+03 height. . . to be about . 18 to 20 inches in
diameter at the maximum, 12 to 15 inches in dia-
meter at the minimum. It could be . . made out
of something like fiberglass or drawn metal.
Possibly reinforced concrete but it feels too
light for that. It feels too small for that.
Scratch and move on.
Approved For Release 200
PAUSE
DP96-00788R000900340001-6
Approved For Release 2000/08/ 96-00788R000900340001-6
A diagonal moving from. . upright to down
left. It could be the size of a staircase
which would contain two to three steps. It
+04 could be a low ramp. It appears to be something
of the nature that you would walk down. Its
low, its no higher than a foot off the ground
and it appears to lead to a lower area. The
nature of it is that if you were walking along,
you would look down to be sure of your footing
and see this diagonal.
Diagonal is drawn in Number 2 and marked "A".
PAUSE
#14: He's been down at the target for five minutes.
PAUSE
+05 #44: COMMENT: While external noises don't usually
bother me, there's a defect of some sort in
that cassette and that tape recorder and its
going: tick, tick, tick and that is getting
through to me. Move the tape recorder back a
little bit. I hope you can still hear it (Typist).
PAUSE
Okay, I got a . . . Boy, that one came in sharp,
but I can't understand it.
#14: Describe it.
+06 #44: Dark. Vertical. . and it appears something like
a window. Let's go back to the object. I caught
an analytical overlay sneaking in on that one.
It appears to be a black surface. . that seems to
penetrate the light portion. I would like to say
window and wall but I'm not sure that that's what
it is. The area at "A" is bright and the area in
"B" is dark and feels like it might. . . It feels
like its part of the building. What the interior
surface. . be . . is made out of. I don't exactly
know. It seems to be smooth but does not seem to
+07 have much texture to it. The area at "A" seems to
have a window in it. A large, glass, like surface.
PAUSE
#14: He's been at the target now for ten minutes.
PAUSE
2
Approved For Release 2000/ 788R000900340001-6
Approved For Release 2000/
0788R000900340001-6
#44: I'd like to try and assess the kind of activity
that goes on at the target. . . If I can.
PAUSE
+11 I got the feeling of people being around. Not
a lot.
PAUSE
+13 The thought of food just came to me. I don't
know whether that is an answer to the question.
The place that #66 is at. . seems commercial.
PAUSE
#14: Do you have a feeling whether he is inside or
outside?
#44: Inside.
PAUSE
I've lost track of him. . like, I seemed to.
+14 I just got an arch kind of shape. . and it. .
let me see if I can turn around. . .
Come on, darn it, turn around.
PAUSE
+15 If I ever figure out how to turn around in this
foolish game, I'll be happy. I want to turn my
head but the picture doesn't move and I'm getting
terribly frustrated with it.
All right.
PAUSE
#14: Try moving the picture.
PAUSE
#44: Take what I get. A vertical. . this might be a
standard or might be a column. It seems to go
up further. Okay, now. From that dark shape I
think there is one that goes up in that direction.
I think there is also one that goes up, the one
that I see, goes up in this direction. And, its
not a round arch, its parabolic. In other words,
it would come up to an apex and then drop off.
Approved For Release 2000/08/07:
788R000900340001-6
Approved For Release 2000/
96-00788R000900340001-6
That is a possibility. The other possibility
is that it is not an arch but it is a vertical
with something tipping out from it. Maybe a
flag or a banner of some sort.
+17 I just got the most perfect perametal shrub.
Its a good size too. Either . . a. . blue spruce
or a carefully trimmed white spruce or a hemlock.
Now I see it. There are more than one.
Now, how in the world. . . I feel like I'm up in
the air looking down on this thing and the thing
itself is . . order or magnitude, twelve feet to
fifteen feet high. But I seem to be looking down
on the thing. Nice looking shrubs. I don't see
a railing in front of the thing and that's begin-
ning to make me nervous.
PAUSE
#14: Well, as long as you're up there, look down at it.
PAUSE
+19 #44: I wonder if its possible to climb up inside this
building - the target area. . . and look out as
if from a second story.
I'd be looking out over a . . relatively flat
area that looks something like farm land. . . in
the sense that its not all trees and . . farm land,
parking lot?, I don't know. Flat.
PAUSE
#14: We've been on target for twenty minutes now.
#66 has probably left the area. But let's see
if we can stick around and pick up some more of
these pieces.
+22 Form a picture of that lower case letter "h" that
you first saw. If you can.
PAUSE
#44: To go back. . .
#14: Go back to where that was comfortable.
PAUSE
4
Approved For Release 2000/08
DP96-00788R000900340001-6
Approved For Release 2000 P96-00788R000900340001-6
#44: Yeah.
PAUSE
Okay. It was not in the sense. . . the lower
case "h" was not in the sense of being a picture
but perhaps a word associated with the target.
I don't. . . I didn't see it as if it was a
part of a sign. I didn't see it as if it was
. . . because I can imagine only very few circum-
stances in which you'd have a lower case
It seemed to be at the left hand side. . of . .
Okay, if there is anything in the field that I
was looking in, it appeared to be over here and
diminishing in perspective.
Gothic "h" . . which means it doesn't have any
(not audible) on it. But it had some good size
to it. The ascender and the vertical bar, is
quite tall. But I couldn't say that it had. .
I couldn't say that it was part of a sign, it
sort of came more under the heading of a . . .
I'd rather go back and try. . or I'd like to
now go back and see if I can do anything with
this first shape, if I can find it.
PAUSE
I can't find it.
PAUSE
I got the feeling that anything that I add at
this point is going to be analytical overlay.
#14: Okay.
#44: And I think that the best thing to do is hang
it up.
#14: That's fine. Is there any more you think you
can add to the description of the drawings
that we have here? That we might want to get
on the tape.
#44: Considering Drawing Number One: if I did go
back and look at it again, it seemed that the
corner between the two shapes was sharper than
I drew it at first.
#14: Okay.
Approved For Release 2000/08/07:
88R000900340001-6
Approved For Release 2000/0
P96-00788R000900340001-6
#44: But this is . . the flat portion is still flat
and the vertical portion is still vertical. It's
white. The pole its attached to or the surface
is dark.
PAUSE
This is where I made the analytical overlay
comment because I went back to Drawing Number
Two which I described as a ramp leading down or
a downward walk surface. I am tempted to say
wide brick stairs. . with a brick. . with a . .
sidebar either being brick or wood in broad, flat
staircase made out of brick leading down into a
brick courtyard that has a curving side to it.
PAUSE
#14: Why don't you go ahead and label it brick.
PAUSE
#44: In Three: analytical, the wall. . the smooth wall
boards type surface, painted. Dark blue. On the
order of magnitude of royal blue or something that
dark.
#14: Um hm.
#44: I had the feeling that there was something in
Four at the arch configuration. That there was
something affixed. Maybe a sign taped up. Right
at the point where the arch shape attached to the
surface, whatever it was.
Five: Looking down on the Picea Pungens. Here
I try and draw a spruce, but that isn't going to
work. I can see it inside my head but that isn't
going to work. But it was a doggone good size
tree. But I have just fooled around with the
the original. But order of magnitude 12 to 15.
#14: Is there any possibility that this arch shape
could be related to the lower case "h"?
6
Approved For Release 2000/08/ : P96-00788R000900340001-6
Approved For Release 2000/ 1DP96-00788R000900340001-6
#44: No. I see the shape similarity that you see.
But its almost. . . well, most of the things
that I've drawn are things that I have seen
as shapes. But this came to me just as a
non-picturial. . . I didn't get a picture of
the letter "h", I got the idea of the letter
"h". Let's call this . . it shouldn't really
be Six. It should be before One. I'll put
that in parenthesis. I'll put down some sort
of a drawing. . which I don't really understand.
This is a "just in case". When I was looking
out over the flat area, I described a sensation
of being concerned because there wasn't a hand-
rail. I got the feeling of, perhaps, foilage
in the distance. Maybe a tree line. But the
area in the foreground here seemed to be flat
and I got the feeling that it had some good
distance to it. Like it might be several fields
worth. But then I got to thinking that it might
also be the sort of broken up angularity that
you get in a large flat size parking lot in a
shopping center.
#14: Okay.
#44: I had the feeling at this point, in Seven, that
I was up in the air one story, one and a half
stories high. It is possible that Five and
Seven, the Drawings at Five and Seven, are con-
nected in the sense that as you went up on to
the surface that you looked out in Seven at,
you. . . that was the reason for looking down on
the top of trees.
That's enough.
7
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
TAB A
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Appr ved For R
ase 2000/08/CPT CIA-RDP96?00788R000900340001-6
? ? \
-/)
Approved For Releasg _g00 /08/07 : CIA-IWP96-907881300700340001-fi
App u ved or Release 2000/08/07 -RDP96-00788 00340001 6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
TAB B
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
TAB C
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6
Approved For Release 20
A-RDP96-00788R000900340001-6
POST-SESSION INTERVIEW
REMOTE VIEWING (RV) SESSION XXXIX
1. (S) Post-session interviews are conducted after the
completion of a session to provide the remote viewer with
the opportunity to express himself concerning his viewing
experience.
2. (S) During the post-session interview, #44 expressed
confidence about the success of his session. He feels
that the accuracy of his information is in proportion to
the clarity of his images. #44 expressed the desire to
participate in more sessions on a regular basis. He feels
that by exercising his talents more frequently his target
correlation and resolution will improve.
3. (S) This has been #44's second session with #14 as an
interviewer and facilitator. #44 and #14 appear to work
very well together. #44 seems to be making significant
progress towards more reliable remote viewing.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900340001-6