SUMMARY REMOTE VIEWING SESSION XXV

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900520001-6
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 24
• Document Creation Date: November 4, 2016
• Document Release Date: June 17, 1998
• Sequence Number: 1
• Content Type: SUMMARY

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REMOTE VIEWING (RV) SESSION XXV
1. (S) This report provides documentation of a remote
viewing session conducted for the purpose of orienting a
remote viewer to the protocol which will be used in the
remote viewing training program at Stanford Research
Institute (SRI), Menlo Park, California.
2. (S) The impressions of the remote viewer during this
session show only minor target correlation from an objec-
tive point of view. The session, however, was very valuable
in that the remote viewer learned a great deal about the
dangers of "noise" or analytical/fantasy clutter in the
remote viewing process. Because there are some very mean-
ingful target correlations in this session the remote viewer
is sure he "found" the right target but became disoriented
by "noise".
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, preselected target was not used. In lieu of a
randomly generated, preselected 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 the
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.
jgggn
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REMOTE VIEWING (RV) SESSION XXV
TIME #66: This will be a remote session. (Edited for
security.)
#66: Okay, #6.5 and #39 are now approaching the
target. They are observing the target. . .
interactng with the target. . . Look at the
target with them and describe the area to me.
#66: (not audible)
#44: The shape. . . that. . . is like . . the. . .
curve shape of a . . . a . . . caterpillar 955
bucket loader bucket. On an arm. The shape is
dark and the background is light. And it feels
up and it feels heavy. Call that Drawing Number
One.
#66: Okay.
+04 #44: Hmm. Number Two: A shiney aluminum. . . a
shiney aluminum shape that feels up as if it
might be a lamp post, light post, or something
that was . . a . . . Ah. . . the same sort of
a shape as the bell of a trumpet. It feels
vertical.
#44: The shapes are very hard to describe today.
Number Three: a. . . The sort of a shape.
I can't describe it. Ah. . Two half-round
+06 devices that looks like it might be the top of
a ladder. But a . . a chain ladder like in an
escape ladder. Ah. . they're dark and they are
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on a white. . . edge of something. About
. . . chest high. I conceive it. . I can
see that there is a top surface to that. The
white area. Now, I've lost it again.
+07 All right. I get the feeling that #6.5 has
something in his hands that he's looking at.
Not the camera.
Um. . . He seems to be standing with #39 to
his. . . #39 on his left and he's holding
something in his hands and talking to #39 about
it. That may be analytical but I wish to drop
that one. I had the feeling they were inside.
PAUSE
#66: You're doing very well. Go on.
PAUSE
#66: Tell me more about the target.
#44: Now, I feel inside. . . It doesn't feel outside.
PAUSE
#44: They would be standing against the left-hand
wall of the inside of the place.
#66: Um hm.
#44: Then I got an impression. . I got a feeling
that there's flourescent lights. White ceiling
. . . What number am Y up to for drawings?
#44: Four. Call Four an angle like a bench. But
not a bench. It might be a display. It
appears to be light colored.
+10 #44: Just for fun, I'm trying to go back to the one
described as Number Three.
2
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#44: See if I can find more about that one.
PAUSE
Okay, I feel like I need to back up from
where I am. . . and go to the right.
PAUSE
+12 #66: Describe the area to me.
PAUSE
#44: I haven't found a thing yet. . . Moving around
for me is. . in this area, is somehow like
driving in one of those bumper cars. You
don't. . you sort of . . its awkward to move.
Its awkward to drive around.
#44: You don't always wind up where you're trying
to go and right now I'm trying to back up and
turn to the right. 'Cause that's where I
think the thing was.
Okay. I think its still inside. I think its
. . . Another piece of that Number Three puzzle.
. . seems to be . . partition. . not very wide,
that runs ac. . . across the table top. If you
call this thing a table top. When I get to
drawing, let's call that 3 and 3a because I'm
not too certain that I have the same object.
Okay. I have another shape that I don't
understand. Wonderful. . Um. . This one is.
darn it! I don't have any trouble seeing the
images. I have trouble describing the shapes.
The geometrical shapes that I'm getting are not
curvilinear more than rectangle solids.
+15 Okay. Let's just say a hand held in that
position. Whatever. . . remember that gets
up to the. . . But it is white. . . and it
feels hard. Fairly good sized. I'm wondering
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if I'm up and that could be a canopy over
something. I'd like to look at that.
I feel like I'm back out. . . of the target.
Whatever the target was, I feel like I'm
outside now. Now, I get a sensation of poles.
As if there was a flat awning across something.
But the awning has been removed and what we
have is the canvas supports. It might be
something like a trellis that doesn't have any
vines on it. But it appears to be attached to
a building. The building is on the left and
the trellis stands up overhead. Made out of
. . . seems to be made out of pipe. . . I get
the feeling that you can see the sky through
it. Oh boy, I hope this is all, not all
nothing.
Another shape. Like the fist that Rodan's
"Thinker" is resting his chin in. . .
PAUSE
+17 And that one feels dark. . Um, what's the time?
#66: Umm, its 17 minutes after.
PAUSE
#44: Humph! It felt like the time I came back
outside, was about the time he would have left.
+19 #44 (DRAWING)
#44: For Number One consider the drawing at the
arrow. Not the first sketch made.
You haven't noticed of what Number Two was?
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#66: I show Number Two as being two half-round
devices.
#44: Okay. I got. . . a sensation of damp. . .
Is that the one I described. . . Something like
an escape ladder.
#66: Perhaps it is.
#44: Okay.
#44: Now, wait a minute. Someplace inbetween here
there's another drawing which was. . this.
Shiney aluminum shape. It looked like the bell
of a trumpet. I'm tempted to put a light bulb
on the top of that.
Okay. Now, from
came down. . to
here,
another
there was
bar. Ok
a bar. . that
ay, this should
be Three. This should
as Four.
be Two.
What do you get
#66:
Its um. . . that's a good
two, three, three a, . . .
question.
I have one,
#44:
Okay, 3a. . .
#66:
Is (not audible) wall, or something?
#44:
Yeah.
PAUSE
#44:
Now,
that's not right.
PAUSE
PAUSE
#44: That's right. It did stop.
PAUSE
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#66: Okay. I don't show a note that-1 took on
Number Four that the, the time sequence of
Number Four was when you were saying that you
were on the left side against the lighted wall
and that you were having trouble moving through
the area.
#44: Okay. Yeah. Um. . . If there is, you know. . .
(DRAWING)
#44: I wish I wasn't so success/failure oriented.
In all of this. Ah. Four or Five.
#66: Okay, well I show that Five here as being only
described by you so that you can cue on it later
as a hand held in that position.
#44: Okay. Its a very odd shape.
PAUSE
#44: All right. It feels like I'm looking down at it.
(TURN OVER TAPE)
#44: 1 think one of the (are we back running?)
#66: Yes.
#44: I think one of the odd things about this is that
. . . at least in this instance, I can see
through things. And what that really does is
mess up my drawing. Because when I draw some-
thing I can't see through things. In this case,
there appears to be some kind of vertical wall,
something. And then there appears to be this
white shape. Which feels that it might be made
out of something like painted plywood. It doesn't
feel heavy as stone.
I think that there is a vertical. . . there. It
feels like it might be a wall; it might be a
corner. It feels as if I looked down at it.
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To go back to the . . . problem that I had moving
from one point to another point. I seem to get
one look at things. I seem to be able to see
them. But it is . . . a combination, there is a
combination of two things. First, that it seems
like I'm stuck in something gooey as far as being
able to move readily from one place to another.
And the other thing, it seems to be is that. . .
if I try to move in a given direction, I'm not
in control of the direction that I wind up moving
in. It seems to be erratic. And something over
which I haven't got very much control as yet. So
that I can say that I had the feeling, in the case
of Drawing Number Four that. . I was . . . standing
behind #39 and #6.5 looking at what they were
doing and the object in Drawing Number Three was
back and to my right. He. . to be able to get
from the position of Drawing Number Four to Draw-
ing Number Three ought to be just turn around and
go over there. But I can't seem to do it that way.
#66: Now your last Number (not audible) I have as
Number Six. You said there was something that
looked like a fist.
#44: Oh! No. Wait a minute. We're missing two. There
was the one and there was going outside. Six is
a shape like this.
And this was dark. . . If I could spell. . . And
this was Seven, was back outside and I had the
feeling. . of. . . a series of pipes.
Overhead. That's strange. They didn't seem to
be connected. . . this way. Just a series of
pipes. There were two other early impressions
that I want to note.
Just on the "dump everything" principle.
And this was. . .
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Now I got that one. Call this X. I got X two
ways. A light-colored shape and framework.
And Y.
As another canopy or beak of big bird. . . Note:
X and Y were before target.
#44:
#66:
That's enough.
Okay. Now, rather than trying to improve your
drawings, I thought you could try to do something
a little different that we talked about earlier.
Again, rather than working on your drawings and
trying to improve the drawings, I'd like you to
see if you can't take a look at . . one of these
areas again. Okay. Not in attempt to improve
your drawings, but an intent to gather more
information about the area. Okay?
#44:
Yeah. Ah.
should have
. this is something that I'd. .
(not audible) when I was doing
I
it.
But I went
back and looked at the area of .
. .
Number Five
again when I was making the drawing.
But, ah. .
.
#66:
But, you know,
and. .
see if you can't relax again.
#44:
Well, I want to pick one of the areas about which
I haven't worked quite so hard and see if I
can get back to that area.
#66:
I. . . I am interested, of course, from
a . . an
information point of view, if you could
what he was holding in his hands. When
focus on
you saw
something holding in his hands. I'm interested in
focusing on that or perhaps when you . . when you
found yourself outside. Perhaps we could gather
some more data and more around the outside of the
area.
#44: Okay. I have already made a note as to the size,
shape of the object that I thought he was holding.
#66: Okay. Good.
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#44: I had the feeling that it was a shoe. And I
. . . would like to postulate that with about
45 question marks after it. But it felt to be
the size and shape of that. . . It felt to be
about the same weight as that. And I'm tempted
to write down blue.
#66: Rather than chosing the object that he was holding
in his hands, since he's no longer holding it in
his hands at the time. . .
#44: No, he put it back down on the table.
#66: That's fine. And it's focused still sitting on
a table.
#66: Let's try for intelligence purposes to see if we
can't come up with enough descriptive data of the
area where he was so that we could then match that
area. So, in doing that, would you like to try to
go back to the outside of the area or to the in-
side of the area?
#44: Um. . .
#66: Why don't you just relax and see what happens.
PAUSE
#44: I think I would like to go back to either the
outside of the area or to try and look for the
object pictured in Number One. Which I also
believe to have been at the outside of the area.
#66: Relax and concentrate and let me know when you
have something.
#44: All right. It is outside. Doggone it! I just
had it. The object in Number One appeared in
conjunction with the exterior of the place.
But it was as if you had two transparencies of
the two objects laying one on top of the other
and I don't think that that's valid.
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#66:
Talk to me about your. . .
#44:
I'm trying to find it #66, just give me a minute.
#66:
Okay.
#44:
I don't mean to be critical, but
seems to always happen. When I
find the thing, wherever it is,
it
get
and
just. . It
a . . . finally
start to
solidify the thing, you ask me a question. And,
I think I've got it.
Okay, it feels up. As if its maybe eight, nine
feet off the ground. It does not feel metallic.
I keep getting light blue. Um. . feels like its
outside. That . . a. . . it has a pretty good
size to it. Concrete maybe. And how it would get
to be blue, I don't know. And I drew the support
in the wrong place. The support, the support needs
to be more underneath of it. Okay, I'm standing
there next to it. . next to the support looking up
at the thing. But it seems as if the building is
over that way. Ahead and to the left and then
tailing off in the front. . . of this shape.
And, I get the feeling of windows. Its not the
first time I had the feeling of windows either.
It may be that this object is back from and outside
of. . the area of the . . buildings.
#66: I wanted to remind you to relate your true sensory
input. Not just. . .
#66: I mean what's your emotional input about the area?
#44: Oh. It feels like a shop. Business. Talk to you.
Um. . . Now, this, I just don't feel good about.
I wish I understood that shape. Its deeper than
that. I don't know. Really!
Annotation: The "really" was because #66's
stomach was giving him a hard time.
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#44: Enough!
#66: Okay. Are you sure of that now?
#44: Yep !
#66: Okay.
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TAB A
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all- aSLIO-1
CQ,t`-o--Q~`' fin.. , YY
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'c
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3a
/Weal. '`
!!~,
",A-ewc.~
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TAB B
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TAB C
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REMOTE VIEWING (RV) SESSION XXV
1. (S) Post-session interviews are conducted after the
completion of a session to provide the selected remote
viewer with the opportunity to express himself concerning
his viewing experience.
2. (S) #44 was depressed about this session because he
thought it did not measure up to his previous sessions.
He was able to determine, during the visit to the target
after the session, those aspects of the target which
matched his impressions. #44 is anxious to conduct another
session and work harder for better target correlation.
3. (S) #66 sensed some hostility on the part of #44
prior to and during the session. The psychological
atmosphere of this session was not favorable. Tempers
had flared prior to the session and during the session
#44 appeared to be uncomfortable and tense.
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