SUMMARY REMOTE VIEWING SESSION C7

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900470001-2
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 25
• Document Creation Date: November 4, 2016
• Document Release Date: June 17, 1998
• Sequence Number: 1
• Content Type: REPORT

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INS COM
GRILL FLAME
PROJECT
DP96-00788R000900470001-2
SESSION REPORT
CLASSIFIED BY: Director, DIA
REVIEW ON: 31 Jul 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
GRILL FLAME
-01tpti?-?
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SUMMARY ANALYSIS
P96-00788R000900470001-2
REMOTE VIEWING (RV) SESSION C7
1. (S) This report provides documentation of a remote viewing
session conducted for training purposes to enhance a remote
viewer's demonstrated ability.
2. (S) The viewer's impressions show little or no target
correlation. The only things that may relate to the designated
target (a carpet store) are the drawings of cylinders which might
represent rolls of carpet. The viewer was so busy analyzing and
organizing his drawing )he had no time to relax and concentrate
on mental target images or impressions. He was hyperactive
throughout the session. He was undisturbed by ambient room noise)
which was loud because he was so involved in processing what he
perceived as target data. At times he did not respond to the
interviewer for the same reason. This viewer is trying to figure
out how to do remote viewing. He will have to become more goal
oriented and less means oriented for target correlation factors
to increase.
3. (S) The protocol used for this session 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 impressions
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.
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TRANSCRIPT
REMOTE VIEWING (RV) SESSION C7
#66: This will be a remote viewing session (edited
for security).
PAUSE
Its now time to relax and concentrate. Focus
your attention solely on today's target. #11
is at the target location now. He is observing
the area.
PAUSE
See the target with him.
PAUSE
#44: I'm not sure about this one, but I've got an
image which . . has the same general curvature
as the bow of a ship. It appears to be made out
of metal. I'm going to do an "A" and then I'm
going to draw a "B" because I'm not sure whether
it was doubled or not.
PAUSE
"C". . . If you have a bow of a ship it would
appear to be as I've drawn it at "C". I'm not
saying that that is what A and B are, but I'm
beginning . . Ah, an example of kind of double
curvature that I'm aware of. And then the metallic
shape in an "L" over in here someplace is where
the anchor would be. I don't see a shape like
that but I'm just trying to get a sense of scale
or perspective. . to the perceptions I got.
PAUSE
This is a better image than the first one.
PAUSE
I want the "B" labeled upside down because I
. . my perception of the thing (not audible).
It has the sense of having a railing. It has a
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plate on it, identification plate. Name sign,
name plate, whatever. If you were at a place
that had a . . display of some sort. The
display might be fenced off and on the fence
you might have a flat. . I get the sense of a
flat metal plate. It appears, however, to be
light in color; on the metal plate you might
have a description of what the thing is and I've
indicated a sense of words in red because that's
an analytical description.
PAUSE
+05 That drawing at Number 2 appears to be down left
of where #11 is standing and looking. It appears
that he is standing next to this fence like . . .
but for some reason he's looking to the right.
I don't know how to draw this one in plan view
but I think its important so I'll try to (not
audible).
PAUSE
Okay. Draw a straight overhead view. If the
fence was here. . and the plate is here, which
I indicate my square here on this long rod. .
then #11 was standing and looking obliquely to
the right in the direction indicated by the arrow.
What I don't understand is why he's not looking
over the fence.
PAUSE
#66: Pay attention to where he is and not where he's
looking. See what you get in that idea.
PAUSE
#44: Okay, I'm having trouble because I'm aware of a
fenced off area right out here on . . Oh, I don't
know the name of the street. But, its got that
missile display in it. . and its a flat area and
its got a fence around it and there's probably an
identification plate someplace around there. So,
I'm having trouble clearing that out of my mind.
I don't think that's the target area. But I got an
immediate analytical correlation between the two
but I'm having trouble dumping it.
PAUSE
Would you ask me a question again please?
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#66: Okay. You said before that #11 was looking out
at something. See if you can't ask yourself or
pay attention to perhaps right where he's stand-
ing rather than what he's looking at.
PAUSE
#44: I get a flat area. It seems to be outdoors.
PAUSE
+10 I'm still getting a sense of green grass.
PAUSE
What the heck?
PAUSE
I'm having trouble fixing the image that I'm
drawing in 3. . . Try to cut again at 4. I'm
getting a cylindrical pole which is really
bothering me.
PAUSE
Just keep that one for the time being.
PAUSE
Okay, I got what appeared to be two cylinders
projecting through a metal plate. Immediate
analytical impression is field gun where you
have the shield and the breech slanted down towards
you. I would be standing at the breech end of
the field gun and the cylinder. . the recoil
cylinder and the gun tube projecting through the
shield. Those are all analytical expressions for
this very crude drawing that I've done. I'd like
to do a better drawing. Because the way I've
drawn it is not exactly the way I saw it. I think
part of theproblem is because I'm looking through
the sheild . . as if the shield is transparent.
PAUSE
That's no better. The drawing in "A" is the
first drawing; the drawing at "B" is an attempt
to clean up the drawing and make it appear more
accurate. The drawing at "A" is a better drawing.
More clearly. . annotates the perception that I got.
PAUSE
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To go back to your question, you asked me to
move around the area. . No, would you please
ask me that question again #66, I'm sorry.
#66: Okay. I was concerned whether or not #11 being
at the target might be standing at the designated
target and then looking out away from the target
at the surroundings. In . . .
#44: Ohhh!
#66: And perhaps you might be able to look back behind
him and see the target where he's standing.
#44: Oh, okay. Yeah. That makes a lot of sense.
I don't know. Okay, I want to get a perception
down before I lose it.
PAUSE
I don't know what the heck that means.
PAUSE
Come back and talk bout it later 'cause I just
missed another one.
PAUSE
+15 I seem to have better luck drawing as I go through
the sessions because then I don't forget things.
And I don't get disturbed like I am now because
I missed one.
We have discussed, several times, once out on
the West Coast, and a couple of times here, that
if you look at the . . and concentrate and focus
all your energy on the target it seems to wash it
out and the viewer does not get in. Which may
serve to explain why I have theperception in 1
that he is standing at a point looking off to the
right instead of looking directly at the target.
I don't. . Is that an aswer to your question #66?
#66: Do you perceive. . . Go back to your first concept,
your first idea of this railing or fence, is he
standing by that fence? Did you perceive him to
be standing by the fence? Did I understand you?
#44: Yeah.
#66: Okay.
PAUSE
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#44: He's standing next to the fence, next, well in
the general area of this plaque like device that
I have described.
#66: Um hm.
#44: He was. Now, I've gone back to the plaque like
area but I don't sense him being there; he's
moved away or around or . . .
#66: All right. And you said, if he's standing there
by the plaque and he was looking out to the right,
okay, I want you to stand in the same place but
look around behind the fence.
#44: Look across the fence, that's what you asked me
to do. And that is in fact what I did at 3 and
4 and 5. I'm looking on the other side of the
fence.
PAUSE
#66: What goes on at this area?
PAUSE
#44: Well, I have very much painted myself into a
corner, haven't I? I think its . . .
PAUSE
#66, I'd like to go back -- is #11 still at the
target area?
#66: Yes.
#44: Okay. I'd like to go back to this arrow and see
if I can concentrate on the sense of the target
area.
#66: Okay. Now #11 will be leaving the target very
soon.
#44: That's all right. As long as he's still there.
PAUSE
There's an overhang.
PAUSE
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This really should be Drawing Number 7.
I get a sense of being in a park like area.
I still have the sense of an open space. I
still have a sense of it being . . . I don't
have any sense of people being around.
PAUSE
+20 What in the hell is that?
PAUSE
#66: Okay. #11 is probably leaving the target now.
#44: Okay.
PAUSE
I think I've got enough for the sense of the
place to do a little bit more and then I want
to go back and review everything because there's
a couple of; at least one drawing that I haven't
annotated.
PAUSE
Okay. As per usual with Drawing at Number 7,
I could see the front two corners. I can see
the corner at "A" and the corner at "B" and have
a sense of this scrolled up effect or this curved
up effect as if it is a plate, piece of something,
metal, metallic, that is turned up. Now here's
another one. Appears to be an unfolded box.
PAUSE
As if you took the . . I'm running out of letters.
If you took the drawing that is at "Y" and curled
up in the direction of the arrow, this projection
on this plate, you'd wind up with the drawing that
is at "X". And there appear to be four of the same
size. There is a sense of it being an open and
park like area. I don't sense any structures. I
had no . . .
PAUSE
. . sense of there being any buildings.
This is . . I'm glad I don't understand this.
Looks like a cloud lay. Shove it down; don't
worry about it. I had no sense of there being
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any buildings affixed to the area. I have
the feeling that its an outdoor park. Some
place probably here on Post.
PAUSE
Boy, he's just fascinated with this curled up
metal.
PAUSE
If this turns out to be all not there, I'm
going to be disappointed. I've looked at the same
dumb things from about four different perspectives.
PAUSE
By now, you're beginning to wish that I would
finish at least one sentence. The typist is
going to be crying by this time. Okay. I had
the feeling that I was in an outdoor kind of
display, kind of like a museum; not the missile
down here but maybe an artillery display that I'm
not familiar with . . that I don't know about.
+25 Didn't get a sense of there being mechanized
equipment unless it was the Drawing that is at 3.
I know that there are park like places here on
Post and I know. . I have a sense that there are
displays of this type here on Post, so I'm going
to say that its probably . . or analyzing, say
that its probably at Fort Meade. That there is
some place on this Post that is a display of various
types of hardware, field guns and things like that.
I got a sense of it being a flat park like area
with some fencing around. Keeping people from
climbing on the field guns which seems to make the
Army nervous. And patting them and things like
that. I had the sense that there is at least one
tree that provided shade.
PAUSE
In the area. That's back to the left. Back to
the left and behind the immediate area where #11
was.
Did I finally answer your question?
#66: Yes. Um hm.
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#44: I'd like to go back and go through the series
that I did and see if there's any questions that
you have and make sure that I've gotten down all
my perceptions.
#66: Okay.
#44: I think I beat Number 1 to death. Order of
magnitude on that is that is quite large.
PAUSE
The corner here I would estimate to be at least
12 feet above the ground.
#66: Twelve?
#44: Yeah. At least 12 feet above the ground. Now,
I got a glimmering that there were two plates as
at "A" and at "B". "C" is just an analytical
sketch.
The drawing at Number 2 was odd. I had the feel-
ing that there was rectangular block low down
something like a tombstone with a railing through
it. The first perception that I got of the object
was that it was lower down and gray. The second
percpetion of the object changed plain and changed
location. So, it may be that there are two objects
and may be that there are two different flat brick-
a-linear items. But I had the sense of there being
words on both. Explanative words. And the . . . .
Humph! Thelong rectangle that projects through
the cube at "A" may not be a railing, it might be
something in the nature of a planter. All I see
is a dark line. But the drawing at "B" is definitely
a plate on a railing.
Three is a cylinder, a long tube like cylinder,
. . that's projecting away from me and appears
to have a curve to be projecting past a curve.
Now, an analytical guesstimate on that is that its
pole. . . Almost certainly. . Now, wait a minute.
I was going to say almost certainly made out of
metal but it has the same size correlation as
telephone pole. Could it be a toy? I don't know.
Some kind of a giant jungle jim thing. Its
possible. It has the same correlation though to
me, analytically, as the gun tube projecting over
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he front fender of a tank would have. Where
you have a curved front fender and you have the
gun tube projecting out from the rest of the tank
is not drawn but is off to the right.
Ya da da da.
Four is the same as Number 3 except drawn further
around clockwise, no counterclockwise to the right.
Moving to the right so that the tube appeared to be
projecting away from you more and is thus more for
shortened. Fatter. Its too fat as I've drawn it.
Five was two cylinders projecting through a plate.
Now, one of the things. . one of the. . Let's
see, I've tried to draw this twice unsuccessfully.
One of the things that if. . . that suggested
itself to me was a scroll as the toro would be and
why its projecting at an angle through a plate,
I don't know. I had the sense of a two . .
cylinders being in relation to the rolled scroll.
I've indicated that that is Drawing "C". Up at
the top corner of the page.
PAUSE
Six I never described. Never (not audible). It
is a ball on the top of a pyramid and I had the
feeling that it was . . Now, this is the same
kind of a thing that I've seen . . carved out of
stone in. . .sandstone someplace, I don't know
where or when. But it would be the decorative
top to a post on a stone wall. You have the wall
coming in and you'd have this cap at the top of
the thing. Had the same sense of order of magni-
tude to be 12 inches on the base of the pyramid.
#66: Okay.
#44: It felt like stone. With the exception of the ball
at the top which. . the ball, the sphere appeared
or felt to be smoother than stone would normally
be.
Seven, I had the feeling that I was back underneath
either a curving roof or a tree. I had the feeling
that there was a curving dark surface above me as
if I was standing back or moved back underneath a
tree. Or had walked. . no it was behind me, darn
it. Still behind me. From the area in question,
I had moved back and that this curving surface was
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back over my left shoulder. Wouldn't be too
disappointed if it was some sort of a shelter but
I don't think it was. If I had to guess, I'd
guess a tree. I have no explanation for the
drawing done on 7. I just had the sense of
several of these curving shapes as if you had a
metal pipe that was rolled up in various places
and various ways.
PAUSE
Is there anything else that I can do for you?
#66: No, I think that's fine. I think that you've
got an awful lot of imagery there. I think that's
really interesting. Is there anything that you
want to add? You've given me a good overall
impression of the area; you've done that a couple
of times. I think that's really good. You give
kind of a dump of a good overall impression.
You've done that a few times. Is there anything
that you think you want to add?
PAUSE
#44: Yes. Get me a different colored pencil would
you please.
#66: Okay.
#44: I don't know how to explain this but the images
seem to be of a different quality and I want to
try and note. . . I don't know how to explain
this.
PAUSE
Some of the images appeared to be as different
quality than others. I don't know if I can
remember.
#66: Okay. Once before you went and you put pluses
and minuses on them.
#44: Yeah. That was images about which I felt good
and felt bad.
PAUSE
Geez, I can't remember. This is going to fail
for lack of . . .
PAUSE
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Two. . That would be Number Three. . This. .
Two. . . This would be Three.
PAUSE
Come on brain, work! I guess. . . Hmmm. .
PAUSE
Three, I think.
I'm still concerned with the analytical question.
Continuing fight against analytical overlay and
what I'm trying to do is say that there are times
when I get pictures that come in. . If you had a
35MM slide projector, and you projected on a screen
andyou had a TV screen side by side, the images
on the TV screen would be different than the image
- even if I had the same picture - but the quality
of the image and the sense of the image would be
different. . depending on the way the image was
created. That's what I'm trying to say. The way
the image was created in my mind is different from
one to the other and I'm trying to see if I can
develop a sense of which one's right and which
one's wrong.
#66: Um hm.
PAUSE
#44: (Not audible) And what I was doing with the plus
and minuses was when I was trying to do that was
to grade the images as to whether I thought they
were real or not real. I've given up that because
it doesn't work. It just does not work. I don't
think I had anything else.
#66: Okay. Fine.
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TAB A
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e**\
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2_
r's
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001-2
3
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cg,)
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TAB B
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