SUMMARY REMOTE VIEWING SESSION XII

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900830001-2
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 18
• 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: 30 Apr 99
EXTENDED BY: Director, DIA
REASON: 2-301-C(3)(6)
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ULUITUA
REMOTE VIEWING (RV) SESSION XII
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) There was a high degree of target correlation
in this session. Many of the viewer's impressions matched
the designated target. Post-viewing on site analysis
provided the viewer with positive feedback. The remote
viewer was extremely tense prior to the session. He paced
nervously prior to the relaxation period. Once he began
the relaxation period he was able to calm down. He stated
that he was able to set aside the problems of the day and
concentrate on the session. He had a very positive feeling
about the whole experience and this positive feeling is
reflected in the favorable results of the exercise.
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 the target
site. At TAB C is a post-session interview.
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,KL
TRANSCRIPT
REMOTE VIEWING (RV) SESSION XII
TIME
#66: This will be a remote viewing session. (Edited
for security.)
#66: Okay #44, it is now ten o'clock. #6.5 is approach-
ing the target. . He's at the target area. . . He's
observing the target. . . . Look at the target with
him. . . And as you do, describe the area to me.
#44: (not audible)
#66: Okay.
#44: A shape. Its dark. Its complex. I don't want to
try and break it, to draw.
#66: Okay.
#44: Start out with a circle and its held in a rectangle.
And its supported on a post. But note that Number
One.
#44: And it doesn't seem to be a complete circle. Its a
half circle. . . held in a half square. . . I need
to clear it and try it again.
+05 #66: Okay, its now five minutes after. . . you're doing
fine.
#44: Prior to One, I had the impression of trees. .
possibly a, I can't tell, but if it is, they are
on the left hand side and quite far.
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TIME
+07 #44: Hands in pockets. . . mark time.
#66: Okay.
#44: Back in this one again. I got a large. . . light-
colored. . . awning. Facing. . . . And it feels
heavy.
#44: Then. . . at the bottom of the thing. . . looking
up at it. . . but I don't get the feeling of (not
audible). . . . That's funny. I can't see it in
a. . . real geometric terms. Its more of,
its a non-linear thing. Its just a large mass.
#66: Okay.
#44: Put note two. And scratch and try it again.
PAUSE
+10 #66: Describe to me your position in reference to the
target.
#44: (not audible)
PAUSE
#44: There's no place reference to it. Feel of a
PAUSE
#66: Its about ten minutes after now . . . . Relax and
describe the target to me.
+13 #44: I have the feeling of standing and looking down . .
. . a slope. I can't tell whether they're stairs.
#66: Okay.
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TIME
#44: And this is a different angle than before. And
it appears to be a little leftish. . . As if it
had to turn 45 degrees and go down. Not far down,
6 or 8 feet.
#66: Okay.
#44: And the object then would be to the right.
#66: Describe the object to me.
PAUSE
#44: There's a chain type. . . not getting any
PAUSE
#44: I can't find the damn thing.
PAUSE
+15 #66: Okay, its about fifteen after. Back away from the
target. Move your awareness back away from the
target and look at it from a distance. Let the
pieces of the puzzle fall together. Get a perspec-
tive away from the target.
#44: I just don't see windows and doors. . . . I don't.
#66: Don't try to make them . . .
#44: I know. The temptation to put in analytical
windows and doors is there. But I don't get any-
thing but a black. . . . .
#66: Tell me about the other side of it. .
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#44: I don't know, #66. It doesn't seem to have
another side.
#66: Tell me about the top of it.
+18 #44: Flat. It seems to be something. . . . going
on at the corner that I saw, but I can't
determine that. . . .
PAUSE
#44: I'm not sure. I think. . . . .
PAUSE
#44: The large cubic object is what, three?
PAUSE
#66: You footnoted, One is the hands in pockets, Two
is being. . . ah. . you lost the large object and
had to go back again. And Three is the looking
down the slope.
#44: No, there was another image. First one. Which
was that and that and that. The circle and the
square on the post. . . . No, I don't know about
that. . . . And that this was dark. And it felt
up. . . . And there's a connection. . . And that's
Two. I need to work on this one. And Three -
(DRAWING) - That makes it come up; that's wrong.
. . The images were not as clear as I had antici-
pated and which I had expected.
#44: But, I don't see in. . . Its almost as if you
sense the mass more than see it or feel it.
#66: Okay.
#44: Ah. . and I wasn't used to that. I was antici-
pating more detail than what appeared.
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#44: Just adding a figure for analytical purpose. To
give you a sense of scale in Number One. No, its
bigger than that. I'll draw the little figure
smaller. And the post wasn't that large. . . .
And, I'm not at all sure of this. I guess I'm
mostly not sure because I don't know whether that
circle ends or not and that bothers me.
#44: As if it was some kind of a sign, maybe. It was
big and dark. (DRAWING) I hope to hell, there's
something out there. If the car wouldn't start
I'm going to cry. Ha ha.
#44: No, that's analytical, I don't want to do that.
That's better. And then, the man's head would be
about that large. . . . And that's too big. Small
. . . That's better. . . . Okay, this is the image
I've got. But . . .
#44: What I would like try and do now. . . all right.
I. . . . . Okay, we'll call this 2a because I have
a feeling of geometric shape and what I would like
to do is try and put down an analytical explanation
of the way I think that shape could be constructed
but its not part of that because I didn't see it.
#66: Okay, good.
#66: Feel free to go back and look at the target any
time.
#44: If you start out with a cube. . . (not audible)
PAUSE
#44: I don't. . . (DRAWING). . . I've got them wrong.
PAUSE
#44: I don't understand how I can have that and not
have this. Or that. Well, on this one I can put
ME.
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it in, because this is. . . this gets to be
analytical but it doesn't get. . . Its just
the way I have a feeling. . . and be this. . .
Here we're looking at the corner of something.
All right, if you started out with an inner
cube. . . if I started out drawing correctly
and then you took a flat plate. . . a little flat
plate. . . and affixed them to the cube, there
and there. Then you'd wind up with this corner
detail.
#44:
And three, would be over in this direction.
#44:
I can't. . . I'll tell you what it reminds
It reminds me of the size and magnitude of
Sage Center that I saw at Stewart Air Force
me of.
the
Base
that I saw years ago which was just a big white
concrete cube stuck out in the middle of nowhere.
But I don't know. . . . Grading the images, I feel
best about Number One. Grading the images from
one to ten, I'd say I feel seven's worth of
confidence on Number One. Six on Number Two. And,
two on Number Three. And the whole works, may be
just, all analytical. Nonsense. For all I know.
#44:
Go back and . . . There's really nothing I can do
to improve Drawing Number One. Its up like that.
#66:
Okay.
#44:
Number Two, I have already improved.
Three. . . well. . . If there is such
this mass and if there is a bank; then
feeling that a circular concrete area
And Number
a thing as
I had the
there and
steps leading down to it. And that's a lousy
drawing. Let's try to copy it.
#66: Okay, good. It looks like we've got some good
drawings and some good raw descriptions.
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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 XII
1. (S) Post-session interviews are conducted after the
completion of a session (usually the following day) to
provide the selected remote viewer with the opportunity
to express himself concerning his viewing experience.
2. (S) #44 felt very satisfied with his session. He
was disappointed that his "resolution" was not better
and that there were things at the target location which
he did not detect at all. #44 was able to relax and
focus his attention very well in spite of his apparent
nervousness. #44 uses a relaxation technique which he
borrowed from Kreskin, the famous mentalist. #44 read
about this technique in a book by Kreskin and finds it
useful in preparing himself for remote viewing.
3. (S) #44 and #66 seemed to get along well together.
They have not developed a close interpersonal rapport as
yet. Their relationship seems to be one of mutual
respect at this time. It is expected that after a number
of sessions a closer interaction will develop.
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