SUMMARY REMOTE VIEWING SESSION XXVIII

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900560001-2
• 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
• Publication Date: January 1, 1978
• Content Type: REPORT

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ORCON/NOFORN
INSCOM
GRILL FLAME
PROJECT
SESSION REPORT
CLASSIFIED BY: Director,DIA
REVIEW ON: 31 May 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
GRILL FLAME
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REMOTE VIEWING (RV) SESSION XXVIII
1. 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) This remote viewing session provides low to
moderate target correlation. The remote viewer was unable
to relax and concentrate to his satisfaction. He was
unaffected by ambient room noise however. Of particular
interest in this session is the behavior of the "outbounder/
beacon". Prior to going to the randomly generated, pre-
selected designated target, the "outbounder/beacon" mentally
selected an alternate target should he be unable to reach
the designated target. Some of the remote viewer's images
and impressions match the designated target (a donut shop)
while others, especially Drawing #5, match the mentally
selected alternate target (a fountain). In question here
is whether or not the remote viewer "looked at" more than
the target. Not only do we have a "noise" problem from
analysis and fantasy but an interference problem from
multiple targets.
3. (S) The protocol used for this session and which will
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.
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 both the
designated target and the alternate target. At TAB C is
a post-session interview.
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REMOTE VIEWING (RV) SESSION XXVIII
#66: This will be a remote viewing session. (Edited
for security.)
#66: #11 is at the target location now. . . He is
looking at the area. . . Look at the area with
him and describe the target to me.
#7: Its terrible. I don't see anything. . . Foggy
gray.
#66: That's fine. . Just let it be. Just relax and
let it be. . . . Relax and concentrate. . Let
the images come.
#7: I see the . . . a . . . what looks like a . .
the upper, or one end of a row of paper clips.
. . . Its as though I'm just seeing half of
them. Right position. I'm seeing a top end
in there. . .
Spaced apart about a quarter inch. They are
spaced apart about the same distance. . . as
the width of a paper clip.
I have a, now here again, . . . I'm not seeing
total scenery. I'm just seeing things as though
they were in space. Against a light background.
. . . I see a . . what looks like a bunch of
alien wrenches. Long things that curve at a 90
degree angle for a short distance.
PAUSE
A moment ago, I saw a . . . (not audible).
PAUSE
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+03 #7: Now I see three rows of loops. Like . .
Like the loops of wire fence that people
put around plants to keep animals off.
I saw a tree. . without leaves. . I saw a
tree like that, but it was only found on the
H Baker Trademark. I felt a trunk with no
leaves.
And I see that scalloped pattern again. These
images are very weak. Poor resolution.
+05
#66:
Just relax and concentrate. You're doing
very well. Just relax and concentrate on #11.
#7:
I'm up in the air about 70 feet. I'm above and
apparently behind a building. At least I'm
looking at the far edge. A building. I don't
know what. I see shapes that look like. . . you
+06 cut a cardboard tube in half and put the halves
side by side. Now (not audible) scalloped edge
again.
PAUSE
(Whispering - not audible)
PAUSE
Okay. There is a circle at ground level.
Something standing up in the center of it.
Whatever is standing up is about equal to the radius
of the circle. Looks like the . . . funnel shape
on top. . . I have the feeling of plants in the.
plants in the circle. And its (not audible). . .
I have the feeling of some kind of light toned
square is outside the circle. Checkerboard. . .
I had a fading glance on my left of the paper clips.
Loops again.
#66: Describe your relative position to me.
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#7: I. . . Huh! That's funny. My head is very
close to the ground. And they were upper left
cornered. Above me. And going out of the
scene to my left. Its bright above me. The
scalloped. . . whatever is causing that scalloped
pattern is dark on the bottom portion. Above it
is the. . . is everywhere a black cardboard
scalloped on one end held up against a bright sky.
PAUSE
Some things are hard to describe.
PAUSE
I saw what looked like a wood plank that warped
in the sun, forrest green. Six foot long. That's
relative isn't it? Ten inches wide and it appears
that it could be any size. I don't see anything
for scale.
+10 I see. . . see very clear. . against a chrome,
shiney background, a knob. A. . . it was like
the buttons on some kitchen stoves. Its got a
raised, lineared portion in the center that points
to. . . well, it could if that's what it is.
Point to different directions (not audible). Black.
I see a black triangle, point vertical . . .
And I thought I. . . saw a white one too.
Reverse?
I don't know why; I'm seeing a cement trowel.
That's what it looks like. I'm trying not to
overlay. . . Coming in from the lower left corner,
I see the upper right, what appears to be the
upper right corner of a frame of some kind. Its
light in color against a black background. The
. . . inside the frame appears like. . . nothing.
Like a black velvet. Very normal picture frame.
PAUSE
Its gold. . . This doesn't make any sense.
PAUSE
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I think its gold, gold fancy leaves. And its
in the upper right hand. . (not audible). . .
I'm going to see how high I can get.
#66: Okay.
#7: I see that funny roof in my lower right corner.
I see the edge of that running diagonally from
the lower right to upper left. I see clear,
light tone in front of it. This is a building
and that's probably a pavement of some kind.
Something narrow and long off to the left. . .
(DRAWING #7). . . It gets to be a black circle
there. You know, like (not audible) area. .
I see all this clutter. I saw what very dis-
tinctly was an old, the metal part of an old
snap top purse that . . . change purse. And
its brass or gold, probably with a black pouch.
+14.25 I don't know. I'm not up anymore.
At first. . . But I'm seeing like. . . an allen
wrench pattern again.
#66: Let yourself concentrate and relax. Think about
#11 now and focus on #11 alone. And tell me is
#11 inside or outside?
#7: He's outside. Facing north. . . I . . . see that
circle again. Its bright on his side. He's
looking into the dark. He must be facing the.
Its bright on the circle. Oh, okay. What'd I
say. There's a something standing up behind it.
Its got shadows in it. Because of overhang.
I have a feeling of. . . Aw, come on. That's
overlay.
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#7: I see something shaped kind of like a table.
Light. And its bright. Its either very shiney
or. . . its white.
+17 I keep seeing a decorative. . shield, Gargoyle
type thing. And ba relief. Looks like eagle.
. . . kind of a shield maybe.
I saw. . . the allen wrench shape. . . I see
what appears to be fancy, fancy. . . an old time
kerosene lamp.
Looks like that kind or sort of thing. Fancy
shaped.
I have a feeling then. . . just outside looking
up. . . to inside, in front of me, I see what
was like a light colored ceiling but I don't have
a feeling of being in there. Looking in.
#66: Okay. Right now you are looking in there. Let
yourself. . .
#7: I'm not in there.
#66: You're not in. You're looking in.
PAUSE
#7: Its a . . . relating of what you let go by.
Whatever it is I'm looking into, that surface
I'm into or under, appears to be flat and rather
thin, maybe three or four foot thick. Its just
a flat. . .
A lot of images are escaping me because I have
a feeling its overlay. Maybe I'm making a
mistake.
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+20 #66: Feel free to report everything.
#7: I keep seeing this circular dish shape.
Obviously, it looks like a . . some kind of
light fixture from overhead. . . . Oh, gosh.
It appeared to be just inside of a glass door.
#66: Look down and describe the surface you're
standing on.
#7: There's too much logic in that. I think I'm
using logic.
#66: Just report what you see. Don't worry about
(not audible).
#7: I see a right shoe. You know, when I . . .
of course, he's got shoes on. I can't see the
left one.
#66: What's the surface? Describe the surface the
shoe is on.
#7: Why can't I see the left one?
Okay, now I see the surface. It was very cloudy.
I see, I see. . black with a crack in it. And
I see it edging up to concrete in front of the
building. Right. . just about four feet away.
Can't see the left foot. Why can't I see the
whole scene period.
I think this is overlay. But I clearly see the
edge three feet above my head of corregated. . .
corregated fiberglass. I can see light coming
through. But I think. . I think I'm tricking
myself.
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#7: It don't fit with the scene I was looking inside
of a while ago.
That's where you're. . . Ha ha. . . Let's put
it down anyway. Can you imagine having your head
down in the kitchen sink looking up at the faucet
from the bottom end and seeing the filter of the
. . . I've never seen one from that angle. By
+24 gosh, that's what it looks like. It looks like
the bottom side of a kitchen faucet looking up at
the neck.
I. . . see very distinctly, a pom pom shape
flower like a dahlia with red and cream. . . Its
still there. . . Carnations out in the distance.
#66: Back away from the flower and tell me its
relationship to the target. Tell me where its
located in relationship to the target.
#7: Let's see. I see. . . more green. This is a.
to my left. . . The flower is gone. But I see
green. Close to the ground. Close to the surface
(not audible). I have the feeling that that
surface is some kind of pavement.
#7: Boy. . . I'm having trouble. I keep flashing
back at that same. . . blame. . . places. I stood
up the other day and it keeps coming in and over-
laying that. (Shopping center.)
PAUSE
I'm talking about the book store area.
PAUSE
I see the cone shape again. Red. . Red, red,
rust color.
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#66: Hold the cone shape figure in your mind and
concentrate on that. Concentrate on it. . .
Carefully concentrate and then ask yourself.
ask yourself. . . what relationship does that
have with the target. Where does that fit in
the target. Ask yourself that question as you
hold the image in your mind.
#7: Well, there must be a lot of garbage flying
around. Then all of a sudden I just very quick
. . . there it goes again. I saw a strawberry
plant. Can you believe that?
Its a . . Its a . . okay. I want to say what
it looks like. It looks like a clay, a red clay
pot with. . . strawberry plant in it. That
don't make sense. There's some more. . .
I don't know, maybe I'll just tell what I'm seeing.
I see. . . I see. . . what do you call them, what
do you call them, succulents -- hens and chickens.
Bromalades.
#66: Okay, why don't you see if you could draw some
of the images you've had.
#7: Wait a minute. Wait a minute, I , . . a . . .
I'll describe the (not audible). I see. . . I
see green. I can see long, green leaves, I see
blue.
TURN OVER TAPE
#7: Did the thing shut off?
#66: Its on now, if you want to do some drawing.
#7: I was having all kinds of trouble with it.
PAUSE
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#7: #66, I can't keep from analyzing.
#66: That's what these exercises are all about. Is
we go through this and.
PAUSE
#66: But you must feel free to comment on anything
you want. And don't close your mind and restrict
it and say, Oh that's not ture because its
overlay.
#66: You gotta feel. . .
#7: What kept tearing me up was I kept. . . Some of
the stuff didn't fit, but I kept flashing. . .
and I'm sure that's all it was, I kept flashing
to a shopping center that looked like one I was
in the other day.
#7: So this has got to be . . . some kind of "noise",
overlay, and I found myself throwing out a lot of
things I felt was part of that scene.
#66: That's fine. But you have to express those
things. Go ahead and tell me all about it.
#7: I saw him standing. . . several times in roughly
the same place. That is . . . maybe I felt I
was standing there. But this would flash in and
I tried to throw it out and get rid of it and
then everything would go cloudy and I'd start
seeing bits and pieces of information coming in
again. And all of a sudden this would come on
clear again.
#66: Um hm.
#7: In that same area.
#66: Its a little bit early. . .
#7: I just felt I was wasting time with a lot of
my worries and I couldn't get rid of it and it
would come back. It was almost like I was afraid
it would come back and it would.
#66: Okay, at this point in time you have to let all
of that flow out and let it flow out and get it
. . . get used to saying all that stuff.
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Okay, initially, I saw what appeared to be,
these are not very good paper clips, but they
were more even than that. The loops were lined
up as though you could, you know, it was like
it was probably surveyed and very straight.
(DRAWING)
Off to the right. I saw shapes that, if I
remember, Hmmm. . . a bunch of these shapes.
Several of them and they were coming in. . .
These returned several times.
#7: I later got a distinct feeling that I was looking
at. . . I think I mentioned this, looked like a
. . . guard fence. . for flowers. Then I found
myself, I remember quite distinctly. . . how do
I do this?
PAUSE
I'm probably. . . I'm probably adding to this.
PAUSE
This makes no sense. And I. . . I got a feeling
there's some clutter here but I couldn't make it
out. This shape. . . okay. . . later returned.
What the heck. . . Oh. . . Okay. . . Flower pot.
PAUSE
On several occasions I got a view off to my left.
#66: Um hm.
#7: And this is part of the, I think this is a part
of the overlaying. . . . There appeared to be
plants in here. I'm standing about here.
Three feet high. That's the way it appeared to
be. I'm looking towards a building or something
here.
I later backed off and looked at the building
again. Looked at it again from here; the shape
could have been scalloped, I'm not sure.
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And I saw a . . . long layer pattern here.
It could have been . . . vertical shape. .
#7: Just before I started, #66, I had the most
brilliant lavendar, blue-lavendar, God awful,
color, the whole -- everything I saw was just
a smooth lavendar color. Very, very bright.
I started to mention it and I realized that it
was before. . .
#66: But that's okay. Its important to mention it.
#7: Time. Well, okay, I'm mentioning it now. I
tried to get it out of my mind; tried to wipe
it away and after it seemed like several
seconds, I was able to get it to slowly fade
away to the, to the right.
This is taking on the look like the garbage I
got the last time. I keep seeing things.
Unrelated things. Rather than backing off and
seeing a total scene and walking around it like
1. . .
#66: Its perfectly all right. That, that. . . that
seems to be characteristic of the way some people
have worked.
PAUSE
#7: Normally, I bring a lot of things out but. . .
PAUSE
Oh yes. I had the distinct feeling. . . yeah.
PAUSE
Let's do that again.
#66: You can start a new piece of paper.
PAUSE
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#7: I had the distinct feeling of seeing a round
shape. Back here. This was very bright,
looking north. . . I had the feeling that
this was lit up with sunlight and this here
was in shadows.
#7: Ah. . . Along. . . I had the feeling of. . .
I have to do this, draw that. . . perspective,
how do you do that? Looking, looking. . .
looking up under. . . maybe. . . looks like
it was an overhang and it was bright back in
there. . . I'm carrying this thing out to the
wall, but anyway, that's the way it looked.
This was bright and it seemed like maybe there
was a door here and I had the feeling, and I
don't know if I can do that, but I had the
feeling I was seeing. . . the large circular
kind of inverted dish shape. That's when I
thought I was getting garbage. I got a light
shape. . . hanging over here to the left. This
door. But it was definitely outside looking up
and in. . . . And then, . . it. . . it. . . it
was very clear, but it could have been.
garbage.
PAUSE
This how you spell ceiling?
#66: Um hm.
#7: Did I mention anything else? . . . It was
outside. Hmm. . . I guess that was about it,
wasn't it?
#66: Yeah. Is there anything that you think you
want to add? Look back through your pictures
once more and see if there's anything you want
to add.
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#7: Hmmm. This thing here, there was times that
you know, it would change. But it was predominant
as this. But I also had the feeling at times, it
was like, and I think this might have been overlay,
. Oh, that's hard to draw isn't it?. . . I had
the feeling of cross-sections like this. Sloppy isn't
it?
And I think I did have the feeling that. . . at
one point, I felt there was black top here and
cement here. Again, looking north. But, I don't
Had the strong feeling of vegetation
usually always to my left.
#7: This thing here is also. . . I had the feeling
there were squares around it.
I think that's about it.
#66: Okay. That'll do it.
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TAB A
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TAB B
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TAB C
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REMOTE VIEWING (RV) SESSION XXVIII
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) #7 was very happy with the results of this session
in spite of its associated problems. He does feel, however,
that he should be able to control "where he goes" during
the session. He also wishes to be able to relax and
concentrate more than he was able to do. #7 is eager to
practice remote viewing and develop his "resolution."
3. (S) #7 and #66 work very well together. They have
established a trusting rapport. This supportive environ-
ment will probably aid in the development of #7's
capabilities.
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