COORDINATE REMOTE VIEWING STAGES I-VI AND BEYOND, FEBRUARY 1985

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R001000400001-7
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 40
• Document Creation Date: November 4, 2016
• Document Release Date: June 18, 1998
• Sequence Number: 1
• Publication Date: February 1, 1985
• Content Type: REPORT

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COORDINATE REMOTE VIEWING
STAGES I-VT AND BEYOND
FEBRUARY 1985
PROJECT OFFICER
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2. IDEOGRAMS
3. STAGE I
4. STAGE II
5. STAGE III
6. STAGE IV
7. STAGE V
8. STAGE VI
9. SAMPLE SESSION STAGES I - VI
10. FUTURE STAGES
11. CONCLUSIONS
A. GLOSSARY
PAGE
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CHAPTER ONE
INTRODUCTION
The purpose of this document is to provide an overview of
Coordinate Remote Viewing (CRV) Training Stages I through VI.
CRV is the process by which a person is capable of "perceiving"
information concerning a site remote from him in location and/or
time given only the geographic coordinates of that location. It
will provide the basics that have been learned in the past three
years of training. One cannot expect to learn RV simply by
reading this document. CRV must be learned by doing. Terms used
in this paper peculiar to the RV process are defined in appendix
A.
Stage
Example ~._._.
~.
I
Major gestalt
Land surrounded by water,
an island
II
Sensory contact
Cold sensation, wind-swept
feeling
III
Dimension, motion,
mobility
Rising up, panoramic view,
island
outline
IV
General qualitativ
e analytical
Scientific research, live
organisms
aspects
V
Specif=ic analytica
l. aspects
Biological warfare (BW) pr
eparation
(by interrogating
signal line)
site
VI
Three-dimensional
contact,
Layouts, details, further
analytical
modeling
contact
FIGURE 1 (Chart listing basics of S-I through S-VI)
CRV has been divided into discrete achievable levels
called stages. Training is presented in these Stages. (See
Figure 1) Each Stage is a natural progression, building on the
information received from the previous Stage. These stages are
tutored in order, with presentation of theory followed by a
series of practical exercises taking a few weeks per stage. To
learn to RV the trainee must do practical exercises in each Stage
until a level of proficiency is reached. Only then can he
proceed to the subsequent Stage.
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The key to the lower stages of the RV process is the
recognition that the major problem in attempts to remote view is
the desire to visualize the site. When the viewer attempts to
visualize the site he usually stimulates memory and imagination.
As the viewer becomes aware of the first few data bits, there
appears to be a largely spontaneous and undisciplined attempt to
extrapolate and "fill in the blanks." This is presumably driven
by a need to resolve the ambiguity associated with the
fragmentary nature of the emerging perception (see glossary).
The result is a premature internal analysis and interpretation on
the part of the remote viewer. (For example, an impression of an
island is immediately interpreted as Hawaii.) This is called
Analytical Overlay (AOL) (see glossary).
Investigation of these overlay patterns by
SRI-International led to the model of RV functioning shown in
figure 2
SIGNAL
NOISE,
STIMULUS
UNCLASSIFIED
FIGURE 2 (Schematic representation of remote viewer response to
CR.V situation)
Upon receiving the stimulus, or coordinates the psychic signal
reaches the threshold of awareness, the point where the signal
begins to be perceptible. When the signal impacts on this
threshold it is perceived by the viewer momentarily. As this
signal fades away the viewer, using the first few data bits
received from the initial signal, draws on memory or imagination
to "create a picture" of the site. This "picture" is created
from too few data bits and consequently bears little resemblance
to the actual site. This is called fill-in-the-blanks overlays
on the above figure. Success in handling this complex process
requires the viewer to "grab" incoming data bits while
simultaneously attempting to control the overlays. Stage I and
Stage II training is designed to deal with this problem.
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Observation of the training program indicates that remote
viewing is a learnable skill. Specifically, it appears that a
viewer trained in this CRV technique can be expected to exhibit a
performance curve as depicted in figure 3.
FIGURE 3 (Idealized performance-over-time curve)
After being exposed to the basic concepts of the training
program, the viewer typically exhibits a few sessions of
very-high quality. This is known as the "first-time effect."
This quality cannot be maintained and is followed by dropping to
a very low level of performance. At this point learning begins.
As learning takes place, the session quality improves.
Improvement continues until a plateau is reached. When this
plateau is maintained for five to six consecutive sessions it is
time to commence training in the next Stage.
As indicated earlier, the CRV training procedure is
structured to proceed through a series of stages hypothesized to
correspond to stages of increased contact with the site. These
stages are tutored in order, with presentation of theory followed
by a series of practical exercises taking a few weeks per stage.
The viewer progresses through the stages, concentrating only on
the elements to be mastered in each stage before proceeding to
the next. The trainee should not be given information on stages
beyond the specific stage in which he is being trained. This
would challenge the trainee to progress too rapidly. Without a
thorough understanding of each stage, progress into successive
stages becomes very difficult.
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The time required per stage is only an estimate. Training
continues until the appropriate plateau is reached. The exact
number of sessions is dependent on the needs of the specific
viewer trainee. The quantity of sessions a trainee requires to
complete a particular stage is not necessarily indicative of the
his potential as a viewer. Individual differences in a trainee
may impede progress in one stage while it may enhance training in
other stages.
In developing this CRV training program, it was found that
an experienced viewer applying the proper techniques tends to
contact the site in sequential stages. The contents of these
stages are shown in figure 1, and the techniques employed are
described below.
STAGE I MAJOR. GESTALT In Stage I the viewer is trained
to provide a quick-reaction response to the reading of geographic
coordinates by the interviewer. The coordinates are expressed in
degrees, minutes, and seconds when possible. The response takes
the form of an immediate, primitive "squiggle" on paper. This
"squiggle" is known as an ideogram. The ideogram captures the
overall feeling/motion of the gestalt of the site (e.g.,
fluid/wavy for water). This response is kinesthetic and not
visual. In Stage I visual images are noted and labeled as AOL.
STAGE II SENSORY CONTACT In Stage II the viewer is
trained to become sensitive to sensations associated with the
site. These sensations concern sounds, smells, tastes, textures,
temperatures, and energies at the site. Although colors are
perceivable, Stage II signals are essentially nonvisual in
nature. As in Stage I, visual images are noted and declared as
AOL.
STAGE III DIMENSION, MOTION, AND MOBILITY In Stages I
and IT, data typically appear to emerge as fragmented data bits.
In Stage III we observe the emergence of a broader concept of the
site. With Stage I and II data forming a foundation, more
detailed data and dimensional aspects such as length, height, and
distances, begin to appear. This increased contact is known as a
"widening of the aperture". At this point contact with the site
appears sufficiently strengthened that the viewer begins to have
an overall appreciation of the site as a whole. This is known as
an "aesthetic impact". After the viewer experiences an
"aesthetic impact" the urge to draw the site begins. These
drawings are expressed in the form of sketches, trackers
(outlines of the general configuration of the site), and
additional spontaneous ideograms. The final product of Stage I
through Stage III training is the recognition of the overall
gestalt and physical configuration of the site.
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STAGE IV GENERAL QUALITATIVE ANALYTICAL ASPECTS Because of the
increased site contact that occurs in Stage III, in Stage IV data
of an analytical nature begin to emerge. Contained in Stage IV
data are elements that go beyond normal observational concepts.
The ambience of the site such as military, religious, technical,
or educational, can be expressed in Stage IV. Cultural factors
such as Soviet, Muslim, or Arabic, and functional indicators such
as power generation, BW research, or human research, can also be
reported accurately in Stage IV. Stage IV is therefore the point
where the viewer begins to become operational.
STAGE V SPECIFIC ANALYTICAL ASPECTS BY INTERROGATING THE
SIGNAL LINE Many complex bits of data are produced during Stage
IV. I during Stage IV the viewer attempts to probe or question
the significance of this data it usually results in the
production of AOL. The analytic functions of the viewer "try too
hard" and fill in with logical but incorrect data. In Stage V
however, special techniques are used to produce the more detailed
information without triggering AOL.
STAGE VI THREE DIMENSIONAL CONTACT AND MODELING In Stage
VI the viewer uses various materials to produce three dimensional
representations of the site or specific elements at the site
location. Materials such as clay, cardboard, and poster paper
can be used to produce models of the specific structure at the
site as well as the general configuration of the surrounding
area. This construction is done with "feeling". The use of
these materials is not simply an attempt to render a more exact
representation of the site than can be done verbally, or by means
of drawing. The kinesthetic activity appears to both quench AOL
formation associated with purely cerebral processes, and to act
as a trigger to produce further analytical content of the site,
..even concerning aspects not being specifically addressed by the
modeling.
Detailed information concerning these training stages is
included in the following chapters. Additionally, hypothesized
subsequent stages are discussed in chapter 10.
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CHAPTER 2
IDEOGRAMS
An ideogram is the kinesthetic response of the viewer to
his perception of the site. Ideograms are the basis for the CRV
training program. Ideograms are taught to the trainee in Stage
I. Without mastering the ideogramic process the trainee cannot
proceed to subsequent stages. The ideogram is the foundation for
all other stages in CRV.
In CRV ideograms are produced in response to the reading
of the coordinate of the site. This ideogram is produced as the
viewer comes into contact with the signal line. The ideogram is
composed of three portions:
a. the ideogram
b. A.-the feeling/motion
c. B.-the automatic analytical response
The ideogram is expressed as a "squiggle" on paper. It is
produced by a spontaneous reaction of the viewer to the
geographic coordinate of the site.
The viewer writes the coordinate which is spoken to him by
the monitor. When this is completed he places his pen point on
the paper keeping his arm relaxed so that when the unconscious,
almost imperceptible, response is experienced the pen will
produce a mark on the paper. This mark is the ideogram.
The second portion of the ideogram is the feeling/motion.
The feeling/motion incorporates two parts. The feeling that the
viewer is experiencing while he is drawing the ideogram and the
motion that the pen makes as the ideogram is being produced.
There is no single word in the English language which means both
feeling and motion hence the phrase feeling/motion.
The feeling expresses the basic feeling the viewer would
feel if he were actually at the site. Examples of this are:
hard, fluid, manmade, smooth, etc. There are five basic
categories of feelings. These are: solid, liquid, airiness,
energy, and temperature (also a Stage II).
The motion expresses the movement of the pen as the
ideogram is being produced. Examples of this are: erratic, wavy,
up, down, across, etc.
It is important that the ideogram only be expressed in
terms of the feeling/motion and not in terms of its visual
appearance. Do not look at the ideogram and expect to see
something in it. This will lead to an AOL-DRIVE (see glossary).
The feeling/motion is expressed on paper as an A-
(example: A-rising solid). This A- is on the right-central
portion of the paper (see example).
The final portion of the ideogram is the automatic
analytical response. This is the analytical response the viewer
has while or immediately after drawing the ideogram (example:
land, water, building, etc.). These responses should be very
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 general and immediate. The viewer should not "think" about
producing a response. If it is not truly automatic then the
viewer should simply state that there is no response. It is
completely acceptable not to produce an automatic analytical
response.
The automatic analytical response is expressed as a B-
(example: B-land). This B- should be immediately below the A-.
If the viewer has no response, he should verbalize, "no B", and
write B- -.
There are four types of ideograms:
a. single
b. double
c. composite
d. multiple
A single ideogram is a one-line drawing which expresses
one idea. A single ideogram should have one A- and one B-.
A-up sharp down
B-mountain
The double ideogram is a drawing of two similar lines that
represent one idea which may have as many as five different
parts. It may require as many as five different A's and B's.
A-shifty solid
B-land
A-flowing fluid
B-water
A-hard solid
B-rock
The composite
identical or similar
ideogram should have
ideogram is a drawing of three or more
lines that represent one idea. A composite
only one A and B.
A-flowing fluid
B-waterfall
Multiple ideograms are
represent any number of ideas.
each idea the multiple ideogram
a combination of lines which
One A- and B- is required for
expresses.
A-up hard down
B-mountain
A-flowing fluid
B-river
A-circling fluid
B-lake
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This basic understanding of ideograms is necessary before
proceeding to the following chapters. Chapters 3 through 8
discuss the six Stage CRV process in detail. Chapter nine
provides an example of a completed CRV training session.
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CHAPTER 3
STAGE I
MAJOR GESTALT
Stage I is the most important stage in the CRV training
program. Stage I is also the most difficult to train. Stage I
is the basis for the entire CRV process.
In chapter 2 we discussed Ideograms and how they are
formed. The ideogram initially appears to provide little data.
However, with more detailed inspection one finds the ideogram
posses all the basic information necessary to proceed on to the
operational data that we require. This information is contained
in the feeling/motion of the ideogram.
In teaching CRV we are not teaching the trainee to be
psychic. We are not teaching him to receive the signal. We are
teaching him the proper format to be used in objectifying the
data he perceives upon receiving the coordinate. This is known
as the session "Structure". In this CRV technology we believe
that as long as the viewer maintains proper control of his
structure the data can be considered generally correct. It must
be stressed to the viewer at all times that only by monitoring
his structure can he know the value or correctness of the data he
is producing. The best results are produced when the viewer
ignores the content of the data and concentrates on the
structure. This structure is always controlled by the viewer.
The following information concerning session structure is
an integral part of Stage I. Structure and Stage I must be
taught concurrently, hence a large portion of this chapter is
devoted to structure. However, the structure learned in Stage I
is used through out the CR.V process.
Structure is broken into two areas:
The interaction of the interviewer and viewer.
The proper sequences of steps taken by the viewer to grasp
the ideograms and objectify the data.
The interaction of the interviewer and viewer should be
kept to a minimum to prevent inadvertent cuing or extemporaneous
stimulus which might interfere with the viewer's ability to
retrieve and objectify the signal. In objectifying the signal
the viewer expresses, on paper, the perceptions or processes
taking place in his head. All superfluous talking should be
saved for the completion of the session. The date/time,
coordinates or alternate cuing data, and specific feedback
statements are the only inputs the monitor should make during the
conduct of the session.
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There are three classes of CRV sessions. These classes
deal with the feed-back given or not given to the viewer during
the session. These three classes: A, B, and C, are discussed
below.
Class C
Used in training sessions
? Monitor is knowledgeable of the site; therefore session carried out
under nonblind conditions.
? Intrasession feedback given to facilitate learning process.
? Session results do not stand alone as proof-of-principle because of
cueing possibilities.
? Evaluation of RV results inapplicable; performance curve measures,
number of coordinate iterations required, only.
Class B
? Used in confirmation, evaluation.
? Monitor is blind to site.
? Feedback given only post-session.
? Statistical techniques applicable to RV accuracy assessment.
Class A
? Used in operational RV, simulations.
? Monitor is blind in majority of cases; nonbl_ind analysts or ob-
servers occasionally present.
? Feedback conditions variable, depending on task requirements.
? Evaluation techniques as determined by user.
SECRET/NOFORN
The majority of the training sessions are Class C, with
feedback. It is during training the viewer trainee must learn to
differentiate between the emerging signal and AOL. This is done
by immediate feedback during training.
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To begin a session in Stage I the viewer trainee writes
his name, location, and interviewers' name on the upper right
corner of the paper. When this is complete the interviewer
states the date/time group and the viewer writes this below the
other information. This administrative data objectifies, in the
mind of the viewer, the conditions (date, time, and location) for
the beginning of the session. The coordinates objectify the
specific site for that session. The viewers job is to, through
proper structure control, describe the objects and activities at
that site.
After this is accomplished the viewer momentarily checks
himself for any problems, physical or emotional, which might
interfere with his ability to RV. These inhibiting factors are
called personal inclemencies (PI). All PI should be declared and
objectified by writing it across the top of the page (example:
PI- experiencing back pain). When problems are being experienced
with bodily functions, the mind is preoccupied and the viewer
cannot give his complete attention to the task at hand. If the
PI is such that it may cause too much attenuation of the signal,
then, if possible, the session should be aborted. When the PI is
no longer a factor then the session can be attempted.
When the viewer feels confident and ready to grasp the
signal he places his pen on the paper in the appropriate place
for the coordinates. Upon seeing this, the monitor reads the
coordinates slowly to the viewer who writes them.
Immediately after writing the coordinates, the signal will
present itself in the form of an ideogram. The
A-(feeling/motion) for each part of the ideogram is stated orally
to the interviewer as it is objectified on the paper. The
B-(automatic analytical response), if present, is also declared
both orally and in writing. If no B- is present, this too should
be declared. This is considered a completed Stage I sequence.
Ideally the ideogram and the A- produce a B- (I+A=B). The
coordinates may be restated any number of times, at the viewers
discretion. After an I, A, B sequence is completed, the next
reading of the coordinate should produce a different, more
detailed, ideogram. Only after the I, A, B sequence is properly
completed, however, will this new ideogram come. If during this
process the same ideogram is produced with each iteration of the
coordinate it indicates the ideogram has been incompletely or
incorrectly interpreted. This means the viewer must take more
care in producing the A-(feeling /motion). Often after the A-
has been thoroughly expressed the viewer will be able to provide
a. B-. Once the ideogram has been correctly interpreted the next
ideogram will present itself.
Ideograms come in sequential order from the main gestalt
of the site to the smaller details. When an ideogram is
correctly and completely interpreted another will present itself
offering more information about the site.
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The example below indicates the proper Stage I format and
is considered a completed Stage I session.
VIEWER NAME
FT MEADE
INTERVIEWER NAME
DATE/TIME GROUP
37?43' 17.2" N
12_2?42'11.8" E
A-rising hard
B-mountain
Each consecutive entry on the paper is entered below the
previous entry. This provides a chronological history of the
data. If, during the session it is noted that the viewer is out
of structure, this chronological history will allow him to review
the data and to correct the structure. At the conclusion of the
session, an analyst, by reviewing the session structure, can know
the reliability of the data.
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During Class C (training) sessions the interviewer will
provide the viewer with immediate feed-back for each element of
data the viewer provides. This feed-back, in order to prevent
inadvertent cuing, is in the form of very specific statements.
These statements and their definitions follow:
Site (S) This indicates the site has been correctly named
for the sic stage being trained (manmade structure for Stage
I, bridge for Stage III). Site indicates that the session is
completed.
Correct (C) This indicates that the information is
correct in context with the site location, but is not sufficient
to end the session.
Probably Correct (PC) This statement means that the
interviewer, due to limited feed-back materials, while not sure,
believes that the information provided is correct.
Near (N) This indicates that the information provided is
not an element of the specific site, but is correct for the
immediate surrounding area.
Can't Feed-back (CFB) This statement indicates that, due
to limited feed-back materials, the interviewer cannot make a
judgment as to the correctness of the data. It means neither
correct nor incorrect.
Negative feed-back is not given. When the viewer
incorrectly states an element of information no feed-back is
given.
During the session the viewer writes the abbreviation (see
above) of the feed-back next to the data. This allows the
viewer, during training, to review the correct elements and
produce a summary which describes the site. The session
continues, during training, until the interviewer responds with
the feed-back of Site.
At any time during the session or upon completion of the
session, the viewer can complete a summary of the information he
has produced. This often is helpful in creating a "picture" of
the site in the mind of the viewer. During all sessions beyond
Stage IV, and for all operational sessions a summary should be
included at the end. This summary should be written in the words
of the viewer and should include all data which was produced
during the session.
When the viewer provides the required detail for the
session to be considered complete the interviewer will indicate
this by feeding back, site, end. The viewer objectifies this on
the paper below the last entry on the paper. When this is
complete the interviewer states the time for the completion of
the session and this, too, is written by the viewer.
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To this point we have discussed the ideal session, but
what happens when things don't go ideally? We have a method for
handling that too. When things are going well we keep working,
but when they aren't we take breaks.
There are specific types of breaks and appropriate times
to take them. When a break is taken the viewer objectifies the
type of break on the paper and orally. The reason the viewer
called the break is also stated and written. The brakes and when
to use them follows:
Break A break can be taken anytime the viewer feels the
need. This break should not be taken, however, when the signal
is flowing smoothly. If the break is going to be more than a
pause this should be indicated (example: 5 minute break). If the
break is an extended break the ending time should be annotated on
the paper and the resume date/time should be entered (example:
Resume-date/time).
Miss Break A miss break is taken anytime the viewer
misses the i ed ogram after the presentation of the coordinates. A
miss break can also be taken if the viewer misses the feeling
and/or the motion. The miss break is beneficial in that it tells
the system that the signal was missed and to stop looking for
it. If this is not done the brain will produce an AOL rather
than admit it missed it. After a moments pause the viewer should
retake the coordinates and proceed. Any number of miss breaks
can be called. There is no shame in missing the signal, the
shame is in not calling the break and allowing AOL to be produced.
AOL Break An AOL break is called any time the viewer
realizes he has received an AOL. The viewer should call an AOL
Break and objectify the AOL (example: AOL Break- Devil's Tower).
This break acknowledges that it was an AOL and objectifies it to
clear it from the system. The viewer should remain on break
until the AOL "goes away". This may take a few seconds or a few
minutes. Therea.viimes, however, the AOL may linger and
consequently an extended break may be appropriate. AOL are
recognized by three methods:
If the signal becomes a bright, motionless, visual image
it is considered an AOL.
If the data is qualified it is considered an AOL.
Statements such as: it is like..., I think it's,..., or
maybe it's..., are all AOL. It is also considered an AOL
if there is a stutter, pause, or hesitation accompanying
the data.
If the statement is totally unjustified by the previous
data it is considered an AOL., An example is if the viewer
has an A- of rising hard and calls the site water.
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AOL Drive Break (AOL-D break) An AOL-D break is similar to
an AOL break except that an AOL-D indicates that the viewer did
not call an AOL break in time and has been working with an AOL.
This AOL is "driving" the system, hence the name. When the
viewer realizes he is operating with a AOL-D he must go back in
his data and locate the AOL, declare it, and break it from the
system. All data from that point is suspect and should not be
relied upon. With an AOL-D a longer break is usually required.
Bi-location Break (BILO Break) To properly RV a site the
viewer must be bi-located, that is, he must have his perceptions
at the site while still occupying physical space in the viewing
room. When the viewer realizes he is not maintaining this
bi-location he must call a BILO Break. If the viewer is too much
in the viewing room, as evidenced by chit-chat with the
interviewer, he will not be perceiving much data from the site.
Conversely if he is too into the site, as evidenced by long
periods of silence, he will be perceiving the data but he won't
be reporting it. After a momentary break the viewer should pick
up where he left off.
Too Much Break (TM Break) A TM Break is called when the
viewer receives too much data to debrief. If he tries to work
through it a confusion will result. After a short break the
viewer should continue from where he left off.
Confusion Break (CONF Break) A CONF Break is called
anytime t e viewer is confused. Without acknowledging this
confusion the viewer may incorporate the confusion into the
session. The viewer should declare the confusion and objectify
it so it can be removed from the system. A break should be taken
until the confusion is. gone.
By the use of appropriate breaks the viewer is able to
control his structure. As we have stated earlier, it is the
control of structure that we are actually teaching.
Stage I is taught in two phases. Stage I, phase I uses
coordinates that represent only one large gestalt. Examples of
this are large mountain ranges, large cities, and coordinates in
the middle of the ocean. Stage I phase II are more detailed
sites such as rivers through mountain ranges, cities on the
ocean, or small islands.
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CHAPTER 4
STAGE II
SENSORY CONTACT
In Stage I, the signal line is noticeably of brief
duration and extremely narrow in aperture. As the viewer
continues in contact with the signal line, however, the aperture
widens somewhat, and a broader, slower signal is received. This
signal consists of those sensations/feelings which the viewer
might bodily experience were he physically at the site. These
sensations are the signals processed during Stage II. Such basic
things as tastes, smells, tactile sensations such as: textures,
sounds, colors, temperatures, and energies such as: magnetics,
radiation, electricity, etc. are received in Stage II. Stage II
is unique in that the sensations produced usually generate little
or no AOL because they are fundamental data bits that require no
analysis or interpretation by the brain. These data bits, which
are informally designate "Stage Its", present themselves in
clusters upon the proper decoding of the ideogram, A., B.
sequence.
A cluster of Stage Its may consist of two or more
sensations. A single Stage II is called a "floating Stage II"
and is not as reliable as those that come in "clusters". These
clusters tend to represent different aspects of the site, i.e. a
cluster for a building, for surrounding terrain, for water
present at the site, or some other significant geographical or
artificial feature, etc. Separate series of Stage Its may be
obtained for each separate I, A., B. sequence.
After the viewer has produced a B- (or acknowledged there
is no B-), the Stage II signals may begin to flow. To objectify
these signals the viewer writes "S-2" on the mid-point of the
paper (see example below), and writes the Stage II signals, in
column form, as they present themselves.
24? 44'18" N
122? l3'47" E
A-rising angle
manmade
B-building
S-2
gray
white
dry
textured
gritty
The process of aperture expansion seems to function on a
continuum, and as one progresses into Stage II, the aperture
widens. This produces a new category of Stage Its known as
dimensionals. These dimensionals are the beginning of Stage III
and are discussed in the next chapter.
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Because Stage II signals are mostly normal bodily
sensations which we experience daily, Stage II is one of the
easiest and fastest stages to teach.
Stage II signals at first seem to lack any real value.
They are extremely basic and express little about the true nature
of the site. It is important to realize the viewer must progress
through the Stage II signals before he will experience a
"widening of the aperture". This expanded contact with the site
leads, as is discussed in the next chapter, to aesthetic impact
which is the element of CRV which truly leads to the production
of information of intelligence value.
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CHAPTER 5
STAGE III
DIMENSION, MOTION, AND MOBILITY
As discussed earlier, the purpose of Stage I is to teach
the viewer the proper session structure and to train him to
produce ideograms and process As and Bs. Stage II teaches the
viewer to process sensations perceived from the site. Using the
data produced by these Stages as a base the viewer can move into
Stage III. Stage III allows the viewer to achieve a broader,
more dimensional contact with the site. This improved contact
allows the viewer to sketch the physical characteristics of the
site. Stage III is broken into five separate components which
are taught as a package. However, the ultimate goal of Stage III
is TOTAL COMMAND OF STRUCTURE.
Stage III is composed of five elements:
Aesthetic Impact (Al): An Al is the point where the
viewer is so overwhelmed with his perceptions of the site that he
is unable to report them. An Al occurs after three to four
dimensional descriptors are reported in Stage IT. An Al is
indicated by a shift in the viewers' mood or emotion. An Al is
defined as a statement which describes how the site makes the
viewer feel, or how the viewer feels about the site, i.e. lonely,
magnificent, or "don't like it here". Al is one of the more
difficult aspects of CRV to understand and express. Some AIs can
be very powerful, some very weak, and some very subtle. The AT
must be recognized and declared as Al BREAK. If an Al goes
undeclared it can produce AOL colored by Al, bringing about
AOL-Drive or peacocking (see glossary). Al are produced after
the viewer has reported dimensionals, which indicates a change in
aperture has occurred. After the viewer gets four or more
dimensionals, he should look for the Al, although it may occur
after only two or three. Dimensionals will be forced from Stage
II until an appropriate Al is declared. If the Al keeps coming
back it has not been correctly resolved. The viewer must return
to where the Al was first experienced and inspect it to see how
it made them "feel". This feeling should then be expressed as an
Al Break. This corrected AT will produce better site contact and
in turn lead to the other elements of Stage III.
Enhanced Dimensional Contact: A dimension is an extension
in a single line or direction as length, breadth, thickness, or
depth. A line has one dimension: length. A plane has two
dimensions: length and breadth. A solid has 3 dimensions:
length, breadth, and thickness. A dimension is an aspect of the
site. Dimensionality is dependent on the view point of the
viewer and is not an aspect of the site. Dimensions are
expressed as:
a. Horizontal: A horizontal line is parallel to the
horizon, opposite of vertical.
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b. Vertical: A vertical line is perpendicular to the
horizon, the opposite of horizontal.
c. Diagonal: A diagonal line is the point of
intersection of two lines of a figure. A diagonal is
neither vertical nor horizontal.
d. Mass: A quantity of matter that forms a body of
indefinite shape; usually matter. Whatever forms a body
is usually made up of matter. Mass indicates overall size.
e. Volume: Volume is a quantity, bulk, mass, or amount.
The addition of mass or volume provides a third dimension
to the site. This indicates a change in aperture, and
should produce an AI. If the AI is not present, the
viewer may need another dimension.
f. Space: The absenceof any of the above. Empty
distance; an interval between things.
Motion and Mobility:
Motion is the act or process of moving; the passage of a
body from one place to another. Motion is used to describe
movement of things at the site.
Mobility is the state or quality of being mobile.
Mobility indicates that the viewer has the ability to be mobile,
or move at the site.
Trackers: Trackers are like a very detailed ideogram, but
instead of- being a solid line, a tracker is formed by dots. A
tracker is drawn very slowly using dots because it is the
viewer's autonomic system making the decision of where the next
dot should go, and not his conscious processing. Generally, a
tracker will accurately follow the configuration of the site.
Dimensions are required to produce a tracker.
Sketches: A sketch is a general outline without much
detail. It is drawn more slowly than an ideogram but faster than
a tracker and is used to express an idea. Sketches produced
immediately after an ideogram are out of structure and are
considered AOL. Sketches are drawn after an appropriate AT. It
is mobility that allows the production of sketches.
Sketches can be drawn both while in and out of contact
with the signal. Sketches drawn while in contact with the signal
are drawn rapidly and spontaneously.
Sketches drawn while out of contact with the signal are
premeditated and analytically produced using a prescribed format.
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To produce an analytic sketch of the site the viewer works
through dimensional descriptors until an appropriate AI is
produced.
The viewer then lists his data in three categories:
dimensionals, secondary elements, and details.
Next, using the above listed elements, the viewer
deliberately creates an analytical drawing starting with
the horizontal elements, then the vertical elements, and
finally the diagonal (angular) elements.
After this is done the secondary elements and details are
filled in.
Regardless of which method of sketching is used, at no
time should the viewer be sketching an image he has in his head.
The sketches should be created from pre-visual information. If
the viewer has an image in his head it should be declared AOL and
an appropriate break should be taken.
While producing sketches, by either method, the viewer
must be alert for spontaneous ideograms which may be produced.
The viewer can recognize a spontaneous ideogram by the speed or
"automaticness" with which it was produced. When this occurs the
viewer should attempt to produce an A and B. If there is an A
present, then this portion of the sketch was a spontaneous
ideogram.
During the Stage III training session, the coordinate
prompts the ideogram, which prompts the A and B, which prompts
Stage Its (including dimensions), which prompt the AI, which
prompts mobility, which prompts trackers and sketches.
During Stage III the viewer can be moved to different
times and locations. Because RV is a passive activity the
phrases used to prompt mobility should be in the passive form.
Cuing such as "300 feet north something should be perceptible" is
used because it doesn't require an active response of the viewer.
While increased site contact is the more interesting
element of Stage III, it is secondary to the real goal of Stage
III. Again, THE PRIMARY GOAL OF STAGE III IS TOTAL COMMAND OF
STRUCTURE. To complete Stage III the viewer must deliver a
rendering of the ideogram, Stage I and Stage II to include at
least three dimensionals, recognize and debrief an appropriate
AI, become mobile at and around the site, and possibly produce a
tracker or sketch, ALL WITH PROPER STRUCTURE CONTROL.
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CHAPTER 6
STAGE IV
GENERAL QUALITATIVE ANALYTICAL ASPECTS
Whereas Stages I through III are directed toward
recognition of the overall gestalt and physical configuration of
the site, Stage IV goes beyond descriptions of the physical
attributes of the site. Stage IV describes activities and
objects at the site as well the feelings and emotions people at
the site are experiencing. Because of this increased contact
with the site, Stage IV is considered to be the threshold for
operational utility.
In Stage IV the trainee is instructed to separate the
incoming data into eight different categories. These categories
are described below.
Stage II (S-2) These are the same sensations which were
discussed in chapter four. These signals, while still classified
as Stage II because of their nature, are often more detailed
because of the increased contact of Stage IV. Examples are:
blue, hard, car smells, etc.
Dimensionals (D) Dimensional signals describe the
physical size o elements at the site. These are similar to the
dimensionals of Stage III, but are usually more detailed.
Examples are: tall, thin, 350 feet, etc.
Aesthetic Impact (AI) This is the column where the viewer
debriefs his AI. This is a close-ended column which means the
viewer still takes an AI Break as in Stage III and stops
participating in the signal. Examples are: "WOW, this place
makes me feel wonderful!"
Emotional Impact (EI) Emotional impacts are signals the
viewer receives from people at the site. Any time a viewer
perceives people at the site he should immediately move to this
column and look for EI signals. These signals are very revealing
as to what is occurring at the site. This is an open-ended
column, the viewer should not call a break, instead he should
continue to participate with these signals. The EI signal is a
very slow signal. The viewer should take his time when
debriefing EI, there is no need to call a BILO Break while
waiting for EI. Examples of EI are: sad, happy, remorse, etc.
Tangibles (T) A tangible object is something which can be
touched. This column is use to report "things" at the site.
Examples are: trees, buildings, people, chairs, etc.
Intangibles (I) Intangible signals are those that are not
tangible or touchable. Examples of signals which should be put
in this column are: religious, military, Soviet, etc.
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AOL In this column the viewer reports all AOL. This is a
close-ended column. As with all AOL the viewer will call an
AOL-Break and stop participating with the signal. An example is
the remembrance of a place which reminds the viewer of the
perceptions he is reporting.
AOL From The Signal (A/S) While A/S is not necessarily
the site, it is not a true AOL. AOL from the signal is a hazy
image which is still considered pre-visual. It is an analytical
construct of the viewers mind. These A/S will be reported in the
A/S column. No break will be called because the viewer should
continue to participate in this signal. The viewer must be be
aware this A/S can become an AOL and be ready to transfer it into
the AOL column. Example: If the site is a radio tower, but the
viewer receives an A/S of the Eifel Tower, the signal is an A/S
instead of an AOL. It is trying to show the viewer the site
"looks like" the Eifel Tower.
The above items are written across the top of each page
after the session progresses into Stage IV. Below is a sample
Stage IV format:
S-2 D AI EI T I AOL A/S
This "matrix" is written by the viewer rather than using a
pre-printed format. Writing the matrix cues the viewer
kinesthetically, in each column, each time it is written.
The information being debriefed should flow back-and-forth
across the page. The viewer should ensure that information is
being placed in each column. If he sees that one or more columns
are being neglected he should prompt those columns to ensure that
no information is being omitted. To prompt, the viewer simply
places his pen point in the appropriate column. This should
cause a flow of data to be received in that category.
When the viewer produces a T he should attempt to sketch
it. If, during Stage IV a spontaneous sketch is produced the
viewer should attempt to debrief it for Ts. This is an important
aspect which leads to tremendous quantities of data. This often
requires reinforcement during the session.
To complete Stage IV the viewer must:
be able to produce sufficient quantities of data in each
column while maintaining proper session control.
produce sketches from T's and T's from sketches.
It is important for the viewer to be able to confidently
produce information in Stage IV. Often the viewer will produce
data bits which seem to make little sense. The viewer should not
spend time trying to analyze this information, in Stage IV this
will only result in producing AOL. In Stage V the viewer will
learn to interrogate these signals for details without producing
AOL.
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CHAPTER 7
STAGE V
SPECIFIC ANALYTICAL ASPECTS BY INTERROGATING THE SIGNAL LINE
Stage IV produces large quantities of information, however
many times this information is too complex or confusing for the
Stage IV proficient viewer to deal with. Attempts to investigate
this data in Stage IV usually ends in the production of AOL. It
is Stage V that allows the viewer to "interrogate" (see glossary)
the signals to get the appropriate detail without producing AOL.
Additionally, Stage V is considered a corrective action stage in
that it allows the viewer to "look through" AOL and find the data
which caused the production of the AOL. There are many valuable
signals lying under AOL.
Stage V offers exciting possibilities for intelligence
collection. Whereas Stage IV can identify a site as being a
library, Stage V allows the viewer to "enter the library" by
interrogating the signal line and identify the subject of the
books being maintained in the library. This allows the viewer to
differentiate between a legal library and an art, or S&T library.
Stage V allows the viewer to interrogate the signal line
regarding the categories of objects, attributes, subjects, and
topics of the site. First we will define these categories and
give examples of each and then we will discuss the actual
technique used to interrogate the signal line.
OBJECT An object, according to the dictionary, is
anything hat is visible or tangible and is stable in form. When
the viewer prompts for objects he should expect to perceive
objects related to the signal being interrogated. Examples of
objects are: buildings, tanks, weapons, people, etc.
ATTRIBUTE The definition of an attribute is: something
seen as be oonging to or representing someone or something. When
the viewer produces data of interest, it can be interrogated for
its attributes. Example: the attributes of a school are: books,
students, desks, rooms, teachers, etc.
SUBJECT A subject is a matter or topic that forms the
basis of conversation, train of thought, investigation, etc.
An element of data can be interrogated for the underlying
subjects. Example: The subjects of a school are: education,
learning, languages, etc.
TOPIC A topic is a subject of conversation or
discussion. A topic is more detailed than a subject; subjects
have topics. The subject of languages has the topics of:
grammar, German, English, etc.
While the concept of objects and attributes can be easily
understood, the concept of subjects and topics is not. Objects
and their attributes are tangible and exist. People deal with
these ideas daily. Subjects and topics are not tangible,
however. The dividing line between a subject and a topic is very
hazy. Because of this, a large portion of Stage V training is
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devoted towards this concept. In the past it has taken several
days of drills to instill this understanding in the viewer. In
spite of this difficulty however, once the viewer truly
understands the relationship between subject and topic it is no
longer a problem and training proceeds very rapidly.
Now that the categories have been defined, it is important
to understand the relationship between them. Basically, objects
have attributes and attributes have objects; subjects have topics
and topics have subjects. However, any item of data can be
interrogated in any of the above categories.
We have mentioned prompting. What is prompting? In order
to interrogate any piece of data the viewer merely writes the
word, statement, or phrase to be interrogated on the next
available space on the paper. He then writes below this the
category he wishes to interrogate for. For example, if he wants
the attributes of an object he writes the name of the object and
below this he writes "attributes".
When this is done the word "emanations?"(with a question
mark) is written below the category and the information will
become available to him. The word emanate means: to flow out,
issue, or proceed, as to come from a source or origin. When we
prompt for emanations in any category we are merely asking if
there is any signal to be received. This does not lead to AOL.
A question of, "Are there any people there", would force the
viewer into a yes or no situation which could easily induce AOL.
When we ask for emanations we are not doing so with a
preconceived idea (such as people). We are simply taking
whatever response we receive from the prompt. If, when prompted,
the data does not produce any information in that category,
simply try another category. Below is an example:
building
attributes
emanations ?
tall
brown
people
glass
concrete
etc.
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Building can also be interrogated for it's subjects:
building
subjects
emanations ?
knowledge
learning
students
the arts
etc.
As you can see, when building was interrogated for
subjects, the objects of "students" and the topic of "the arts",
came out. This is considered normal. The interrogation will
sometimes automatically shift over to a different category. As
long as the information continues to flow the viewer should
continue to accept it.
The best time to begin Stage V is when the signal slows or
stops in Stage IV. During operational sessions, when the .
interviewer sees an item of particular interest he may, at that
time, request the viewer to interrogate it for more information.
When the Stage IV signal stops the viewer should review
his data for elements which have the greatest potential for
interrogation. Generally, object being interrogated for
attributes or subjects is the best place. This is because the
EEI we are attempting to answer is usually concerned with
"things".
As previously stated, Stage V can be used to "look through
AOL" to find the raw data which caused the AOL. There is usually
a lot of signal incorporated into the AOL. To retrieve this
information the viewer writes the AOL and then interrogates for
the "prior emanations" or the information which preceeded the
AOL. An example follows.
If the viewer had an AOL of the Empire State Building, he
should do the following.
Empire State Building
prior emanations?
tall
angular
massive
gray
etc.
To complete Stage V the viewer must master the ability to
review his data, to select the best "leads", and to move freely
between categories.
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An analysis of an actual Stage V session is included on
the next page. In this session the site was US Grants Farm,
outside St Louis, Missouri. This shows the order in which the
information flowed during the session.
As previously stated, Stage V offers exciting
possibilities for intelligence collection. It allows the viewer,
without AOL, to glean tremendous amounts of information from the
session. With Stage V completed the viewer is ready to move into
Stage VI or three dimensional modeling of the site which allows
the analyst to see what the viewer is "seeing".
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CHAPTER 8
STAGE VI
THREE DIMENSIONAL CONTACT AND MODELING
As previously stated Stage III allows the viewer to sketch
the general physical configuration of the site. Stage VI is a
continuation of the expression of the sites physical
characteristics. In Stage VI the viewer, using various modeling
materials, will construct a three dimensional model of the site
or a montage of the site area to include natural and manmade
elements. These models can be very accurate. A Stage VI model
is a tangible form of information which can be very helpful when
given to analyst. A Stage VI model of the building in which a
hostage is being held would very beneficial in locating him.
These models are constructed from "feel" and not by simply
modeling the Stage III sketch. It is important to understand the
modeling process is not simply an attempt to render a more exact
representation of the site than can be done verbally, or by means
of drawing. Stage VI modeling is a kinesthetic activity which
appears to both quench the desire to produce AOL and it acts as
cuing to produce further analytical content of the site, even
concerning aspects of the site not being specifically addressed
by the modeling.
Stage VI is a very easy stage to teach. The viewer simply
takes clay (or whatever materials he is using), and proceeds to
construct, to the best of his physical abilities, a three
dimensional model of the site. When this is done he should move
his hands (and perceptions) around the area surrounding the model
and "feel" for anything that may be located near the site. If
"something is located he can model it, sketch it on the mounting
board in it's approximate location, or he can return to the paper
and go for ideograms of this "unknown something". During the
Stage VI modeling process the viewer must continue to objectify,
on paper, any verbiage or ideograms which he may produce.
It is recommended that the viewer trainee spend some time
working with the modeling materials before ever beginning a
session. This experience will make it easier for him to model
during the session and allow him to keep his attention on the
session and not on the mechanics of modeling. Modeling ability
quickly improves with time and practice.
Stage VI is an exciting and fun stage for the viewer and
interviewer alike. The physical model represents the culmination
of a long training process and can give the viewer a tremendous
feeling of accomplishment.
This is the completion of the six stage training program
as was developed by I. Swann. The next chapter deals with
hypothesized follow-on stages and attempts to give the reader an
idea of where CR.V can take us.
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CHAPTER 9
SAMPLE SESSION
STAGES I-VI
F
FT. MEADE
INTERVIEWER-
FEB 85
220930
2Z
122?51'29"NE ---1 A-solid hard
A-fluid wavy
B-water
L/W interface
22? 47' 19" N
122?51' 29" E
A-rising angle
manmade
B-structure
S-2
gray
dark
hard
lines
patterned
sloping
wide
tall
pointed
large
massive
AI Break
this place is very interesting
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S-2 D AI EI T I AOL A/S
dark gray
tall
pointed
large
rising
wide
massive
steps
attractive
significant
cultural
old
foreign
AI Break
mysterious
hard
crusty
Indian
Mexican
pyramid
shaped
old
religious
temple
SK-
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STAGE 5
temple
attributes
emanations?
hard
rising
straight
gray
stone
massive
significant
subject
emanations?
important
central
historical
large
hard
rising
significant
objects
emanations?
hard
rising
tall
foreign
Mexican
STAGE VI
(The next is a photo of the Stage VI model which was
produced.)
STAGE VII
(The following phonetic sounds were produced.)
00
to
t000
lu
toolu
tooloo
the site is the the Mayan Temple
at Tolum
SITE END
1017
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CHAPTER 10
FUTURE STAGES
This chapter deals with possible future stages. These
stages are the personal thoughts of the writer. They are the
product of the last three and one-half years of training and work
in the area of CRV. These ideas are my own, however, they were
developed from many hours of thought and discussion with other
people with common interests.
During this training program it has become apparent there
is a natural progression, or continuum, to the psychic signal.
This progression continues beyond RV, to the ability to exert
ones influence over persons and things at the site. The
following stages, I believe, follow this natural progression. By
calling them stages, I am not implying they are trainable. I am
merely stating they appear to fit into the natural flow of the
signal.
STAGE VII ANALYTICS Analytics is the ability to make a
yes/no decision without producing AOL. This also gives the
viewer the ability to "recognize" numbers and letters. This is a
further development of Stages IV and V. This has application in
the recognition of addresses in search problems and code
breaking. This stage is in the process of development by I.
Swann. According to Mr. Swann this development is proceeding
well.
STAGE VIII PHONETICS/SONICS This, too, is a concept of I.
Swann. This was origina y believed to be Stage VII until he
realized analytics actually preceded it. Stage VIII will allow
the viewer to produce phonetic/sonic sounds which, it is
hypothesized, will allow the viewer to produce the name of
persons, places, and things at the site. In my experience these
signals, which I have produced, have at times been very
accurate. An example of this is "Carribah", which was produced
when tasked against Karriba Dam.
STAGE IX TELEPATHIC SIGNALS Stage IX is a follow-on to
the Stage IV emotional impact EI column. The EI column is the
place the viewer discusses the "feelings" of people at the site.
If the viewer is "in-touch" with a distant persons feelings the
next step would seem to be a more complete telepathic link.
Stage IX would be broken into two phases:
PHASE I would be receiving telepathic signals from the
site area. Again, this is very similar to Stage IV EI.
PHASE II would be transmitting telepathic signals to the
site area. Once we understand telepathic signals well
enough to receive them the next step would be to transmit
them.
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STAGE X REMOTE ACTION (RA) Stage X would be
mind-over-matter, also known as psychokinesis (PK). We have very
little understanding of PK, but we do know it exists. If Stage
IX is telepathic signals which effect people, it is logical the
next stage would be RA signals which effect "things". Stage X
would be divided into three phases:
PHASE I would be affecting or interacting with "things" at
the site.
PHASE II would be teleportation of things from the site.
Teleportation is an element of PK. Once we can interact
with things at the site the next step would be to "bring
things back from the site".
PHASE III would be teleportation of things to the site.
Once we can remove things from the site we should be able
to send them as well.
STAGE XI ALTERING THE DIMENSIONALITY AT THE SITE This is
the most difficult stage to understand. Time is considered
another dimension, but there may be many more. Mathematically it
is considered that there are infinite numbers of dimensions.
Stage XI would be broken into at least two phases:
PHASE I would be altering time at the site. Time could be
frozen, moved forward, or moved back. The implications of
this are mind boggling. I believe this is the first stage
where we could truly effect (alter) the future (as well as
the past and the present).
PHASE II Maybe by the time we reach Stage XI we will
understand enough about alternate dimensions to use this
phase. I believe there would probably be an additional
phase for each additional dimension we discover.
I realize these concepts are difficult to grasp and
impossible to believe, but, they are a natural flow of the signal
and it is for this reason I included them. Only time will tell,
whatever time is.
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CHAPTER 11
CONCLUSIONS
After four years of training I know the CRV training
program is a usable program for instructing personnel to RV. As
we increase our data base and understanding we are finding the
time required for training can be shortened. If the instructors
are a dedicated group who truly understand CRV this program will
continue to improve and expand.
Future stages will continue to develop, I believe, in the
general order which I presented them in the previous chapter.
The future of CRV is only limited by the imagination and efforts
of the people pursuing it.
I believe we establish our own realities of what will and
won't work. We once had a viewer who believed he could view, but
he couldn't view different time zones, consequently he succeeded
as a viewer, but failed as a "time traveler". His reality would
not allow him to accomplish the same tasks as his peers, simply
because he didn't believe.
It is imperative the personnel working in this office keep
an open mind and be allowed to pursue new and sometimes radical
ideas. The more radical efforts may produce the most gain in the
long run.
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APPENDIX A
GLOSSARY
A - A label representing the feeling motion.
Aesthetic - Keenly responsive to and appreciative of beauty in
art, nature, etc.
Aesthetic Impact (Al) - So keenly appreciative or aware of the
site that the individual is unable to describe his perceptions.
Analysis - A method of determining the nature of a thing by
separating it into its parts; separating the feeling motion from
the ideogram in order to determine the B - or site.
Analytical Overlay (AOL) - Information produced by the conscious
or unconscious which clutters the signal; noise.
AOL Drive (AOL-D) - The viewer is in AOL-D when he has failed to
acknowledge an AOL and it is "driving" the session.
Automatic - Occurring independently of volition; involuntary.
Aware - Informed, alert, knowledgable.
B - A label representing the automatic analysis of the feeling
motion and the ideogram.
Break - To terminate a mission for a period of time.
Can't Feed-back (CFB) - This statement indicates that, due to
limited feed-back materials, the interviewer cannot make a
judgment as to the correctness of the data. It means neither
correct nor incorrect.
Conscious - Aware of one's own existence, thoughts, surroundings,
etc.
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Confusion (CON) - A statement of being perplexed.
Correct (C) - This indicates that the information is correct in
context with the site location, but is not sufficient to end the
session.
Feeling Motion - A feeling and motion combined, a feeling of
motion.
Gestalt - A configuration having specific properties that cannot
be derived from the summation of its parts. The concept that the
whole is greater than the sum of it's parts.
Idea - Any conception existing in the mind as a result of mental
understanding, awareness or activity.
Ideogram - A written symbol that represents an idea.
Impact - To make an impression.
Interviewer - The individual who assists the viewer during a CRV
session.
Interrogate - To question, as in questioning the signal line.
Miss - To fail to capture the signal.
Near (N) - This indicates that the information provided is not an
element of the specific site, but is correct for the immediate
surrounding area.
Noiseless - Accompanied by or making no noise, a mission free of
AOL.
Objectify - To present as an object, externalize, to write on
paper.
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Objective - Something that one's efforts are intended to attain.
Peacocking - Peacocking is when the analytical portion of the
viewer's brain tries to assist in identifying the site. The
product of this assistance is an endless stream of AOL.
Perception - The act or faculty of apprehending information by
means of the senses or the mind, cognition, or understanding.
Probably Correct (PC) - This statement means that the
interviewer, due to the limited feed-back materials, while not
sure, believes that the information provided is correct.
Signal - The signal is the means by which the information is
received by the viewer.
Site (S) - This indicates that the site has been correctly named
for the specific stage being trained (manmade structure for Stage
I, bridge for Stage III). Site indicates that the session is
completed.
Structure - The manner in which the mission is to be conducted.
Too Much (TM) - A statement made by the viewer when he is so
overwhelmed by data that he cannot report his perceptions.
Unconscious - Without awareness, sensation, or cognition.
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