SUMMARY REMOTE VIEWING SESSION II

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900960001-8
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 27
• Document Creation Date: November 4, 2016
• Document Release Date: March 27, 2000
• Sequence Number: 1
• Content Type: REPORT

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ORCON/NOFORN
INSCOM
GRILL FLAME
PROJECT
C?16,j 1' fe j (.
,q-,001 -71
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CLASSIFIED BY: Director DIA
DECLASSIFY ON 2 Mar 99
EXTENDED BY: Director DIA
REASON: 2-301-C(3)(6)
:.'
JAME
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SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION II
1. (S) This report provides documentation of a remote
viewing session conducted for the purpose of orienting a
selected Remote Viewer to the protocol which will be used
in the remote viewing training program at Stanford Research
Institute (SRI), Menlo Park, California.
2. (S) This session was considered very successful by
all participants in that the post-viewing on target
analysis provided the viewer with positive feedback. The
target site contained features which matched the viewer
descriptions. The Remote Viewer was anxious to conduct
another session and was highly motivated. The Interviewer
and Viewer seemed to work well together.
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 viewers 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. At TAB C
is a post session interview.
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TRANSCRIPT
REMOTE VIEWING (RV) SESSION II
#28:
This will be a remote viewing session. The
Interviewer will be #28 and the Viewer will be
#10.5. (Edited for security.)
#28:
It is
about
ing.
now
the
When
time for you to reach out and tell me
location where #20.5 and #20 are visit-
you have an impression, tell me what
you see.
(Edited for security.)
#10.5: All right.
#10.5: I'm having too much at one time.
PAUSE
#10.5: I'm having too much. .
I'm having too much like grass. But I don't
know what it is. (Whispering)
#28: Let a picture come to mind and just tell me what
you see.
#28: What do you see in and around where they are located?
r U%
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#10.5: Hmmmm.
PAUSE
#10.5: I don't know.
#10.5: The only thing I see is a vertical line like toward
the corner of a building.
#28: You don't have to tell me what it is. Just what
you see. You see a vertical line.
#10.5: All right. Like a wedge.
#28: A wedge. You see a wedge.
PAUSE
#28: Move around to the other side. What do you see?
#10.5: I see, ah, an overhanging thing.
#28: Um hm.
#10.5: And its darkened under it.
#28: Um hm.
PAUSE
#28: Tell me what it looks like from the top.
PAUSE
#10.5: Its far up.
#28: Its far up?
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#28: Go over to the other side of it now and tell me
what you see.
Go over to the other side and tell me what you
see.
#10.5: The top is flat. (Sigh)
#28: The top is flat.
#28: Its dark. The top is dark and flat. (Pause)
You said this was an overhang. Go underneath,
go underneath the overhang.
#10.5: Umm.
#28: What do you see?
PAUSE
#28: What is on the left?
#10.5: Light.
#28: Light. What is on the right? What's on the
right side?
#10.5: Light.
#28: More light. Now turn around, turn around and look
out the other side. Look out the other side. What
do you see straight ahead?
PAUSE
3
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#10.5:
Dark with light at the end.
#28:
Dark first and then light at the end?
#10.5:
Yes.
#28:
Now, go out to where its light at the end. Go
out to where its light, turn around and look
back where you were. What do you see? Tell me
what you see.
#10.5:
Dark with light at the end.
#28:
Dark with light at the end.
PAUSE
#28:
Tell me . . .
. What is on top of the overhang?
#10.5:
No overhang.
#28:
I didn't hear you.
What is on top.
#10.5:
No overhang.
#28:
No overhang.
Other end.
#10.5:
(Long sigh)
PAUSE
#28:
Tell me about its shape.
PAUSE
#10.5:
My feeling (Pause)
#28:
Your feeling?
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#10,5: Dark. . . is inside.
#28: Dark is inside.
#10.5: The light is at each end.
#28: And the light is at each end.
PAUSE
#28: Tell me what goes on here. What takes place
here.
#28: What do you feel about this palce? What happens
here?
#10.5: Business.
#28: Business.
#10.5: Shopping.
#28: Shopping.
#28: I want you to take one more look at the area.
V-e-r-y good! Remember. Look at it carefully
and remember it. Its time that #20 and #20.5
have left. And now I want you to draw that -
what you saw. What you see now. Look at it
very carefully, remember it. When you feel you
have it, sit up and draw.
ADMIN NOTE: It is past the end of the on target time.
#10.5 now sat up and began to draw.
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#10.5: I don't have very much. But what I feel that
it was in some sort of like an arcade.
#28: Okay. See if you can . . .
#10,5: But its that I haven't got anything like I had
before occasionally.
#28: That's okay.
#10.5: But now here's to retirement. Lock up.
#28: I've got nine years to retirement. Got a lot
of time.
#10.5: I don't know how valid it is. You know I didn't
have all the feelings that I . . . . What I felt
was that when I first saw was that they were like
standing on a street corner or something looking
at (or I saw it) it was the edge of the building.
#28: Okay.
#10.5: And that the buildings went off. . . in perspective.
When I said the overhang; the overhang of that
building was like an arcade overhang. At first
what I felt that it might be a theater mall. You
know, a theater entrance. Then you put me in front
of it in the dark and under this overhang and its
white and its light. Its just a street is all I
got the impression of. Just a big open shiney.
#28: Okay.
#28: Now, as you make different drawings, put numbers
by the drawings for references.
#10.5: Right.
#28: Would you like to have the lights on?
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#10.5: Yeah. No. No. Let me stay like this.
#10.5: When I said the wedge, that's one.
#28: Wedge, okay.
#10.5: A line.
#10.5: And I felt that that was just sidewalk.
#28: Okay, you want to do a sidewalk.
PAUSE
#10.5: And I felt that it was. . . . It wasn't dark,
like brick; it was light like sandstone reflecting
the morning light.
#28: The surface of the building?
#10.5: Right.
#10.5: This being the wall. This wall, to the right.
You told me to look to the right or go down the
side of it. And, as I went down . . . . and
that's when I saw this overhang. This overhang,
as though, I was looking down the side of this
thing. The perspective is wrong, but . . . .
As a matter of fact, its farther away in the
distance.
#10.5: Imagine just this wedge. No, I've got the per-
spective right because I was close to the building.
I was in, like on the sidewalk. So actually the
perspective of that street is right down like that.
If it is a street, in fact. But the perspective's
right. In here, is where this . . . .
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(Knock on the door - #28: We are still drawing,
so give us a few minutes.)
(#20.5: All right.)
#10.5: It was like a . . . . I'm having difficulty with
the perspectives. (Pause)
That's the overhang. Something like that.
#28: But it was down? Down and away from .
#10.5: And that's the sides. Now the street and the
sidewalks go like this. Or whatever they are, you
know. The angle of the building goes farther down.
Forget this line. This is like an overhang.
#28: Okay.
#10.5: And the dark was in there.
#28: Dark under the overhang.
#10.5: Right.
#28: Or dark back in this way?
#10.5: Back in there. It was not so dark out here. When
you told me to look that way, left and that way
right. Its light out here.
#28: Okay.
#10.5: But, behind me was where the dark was.
#28: Okay. And then you told me it was dark and then
light down at the end.
#10.5: Right. I had the feeling that it, . . . of this
#28: When you looked back .
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Right. When you had me turn around.
Okay. Okay.
#10.5: Then you told me to go to the other end. The
other end was nothing. The other end, when I
turned around and looked back in, . . .
#28: You went down to this light?
#10.5: Right, it was identical. It was the same thing
when I got to the other end.
#28: Okay.
#10.5: But the difference was, there was no overhang.
It was like the end of something. But it wasn't
the same as the other end of the dark.
#28: Okay.
But when you turned and looked back?
#10.5: It looked identical to the original . . . So this
would have been from the overhang end.
#28: Okay.
#10.5: And a repeat of that, would be from the no-overhang
end.
#28: When you went down to the light area and turned
around and looked back . .
#10.5: Looking back.
#10.5: Was just this.
But, this, was building wall . . . . or, right, in
other words, I was looking from outside in the sun-
light, I was looking at reflective sunlight, but I
was looking down to see a pin, a small dot of light
at the end of it.
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#28: Okay.
#10.5: Okay, like a tunnel. Well, okay, I'll call
that. . (sigh). . . (pause).
When you told me to go over to the other side,
I first started to go up top. Instead of going
down the tunnel. I told you it was high. But
I have no idea. Its not extremely high, but its
high.
#28: You told me the top was dark.
#10.5: And I told you the top was dark as though I was
merely looking at a rectangular. . . . (pause).
Looking down. I tried to see if there was any-
thing detail. There was something on top, but I
don't know what it was. I wanted to think; but
I don't know if it was imagination that there was
a box on top.
#28: Okay. How about putting a number down. This
will be number five. This is a picture of the
top of it.
#10.5: Right, here is. Looking at the top of it, here
is the overhang. This is number one corner.
#28: That's where you first saw it?
#10.5: That's where I first saw this wedge, okay. On
top of . . . . (pause). . . I don't know. I
wanted to say its a box.
#28: Okay?
#10.5: This is stupid. . . . That's on the street side.
I had the impression. I had the impression this
thing was on the street; and that . . . (pause).
. . I'll put it in anyway. And that, ah, see here
would be a . . . . sidewalk, right. Here was a
car something dark.
#28: Good. that's a good description. Dark object. .
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#10.5: But this building. I have the feeling that this
building was longer than this thing looks; from
the top. I had the feeling that this wall -- I
had the feeling that what I was like was just like
on an average ordinary street corner. And, whereas
this overhang was in the building I was looking at
it really stretched way far down. But I was con-
cerned with this overhang and this end of the build-
ing. And, at first, I thought it was like a theater
house but I just tried to stay with the dark/light
colorings.
#28: Yes, that's good.
#10.5: But it was one long continuous thing at the corner
of which I happen to be. So, technically, the same
structure, I think, see now I don't know where this
perspective is. Technically, this building continues.
You know, its like a long block. But out here is
open. Open light.
#10.5: But, . . . . (pause).
#28: Let's take a quick look back through these pictures
again. Okay, just kind of talk to me, say number
one this, number two, etc.
#10.5: You want me to, what?
#28: I want you to go through again, to see if there's
anything you missed, or . . . .
#10.5: Okay.
#28: Number one. (pause) Just briefly. . . .
#10.5: No because I was contem-- No, that was my description.
It was a wedge. When I told you to start with this
corner building; you told me what it is, tell me what
it looks like. And I said it looks like a wedge.
#28: That's fine. That's fine.
#10.5: And that's all I had and you told me to move and I
looked down. I had a very hard time. I looked down
and there was this overhang.
#28: Okay.
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#10.5: This is really out of perspective. But, in other
words, this is the wall. This is the imaginary
plain of the wall where this thing protrudes out
of it. Right.
#28: Okay.
#10.5: So actually, this should be erased. Because that's
a corner. And this is the roof on it. And this is
where I was telling you on the preceding picture, it
continues.
#28: Okay.
#10.5: Long perspectives.
#28: Okay.
#10.5: And this is when I saw those two things that I added
to that last picture.
#28: Okay, do you want to put them in this one.
#10.5: I had the feeling that this is where the sign was
and this was where something else was. Something
big and bulky.
#28: Okay.
#10.5: I got the impression it was a typical sign you see
along any old street.
#28: Okay.
#10.5: That really doesn't give justice, I don't think,
to the way this thing looks. Then again, I don't
know what I was imagining because at that point in
time I thought, that looks like a theater arcade.
But I'll do one of the front of that just in case.
#28: Now, you are looking down into it.
#10.5: I'm looking past the front of it. And down here
somewhere (pause). . . . (not audible).
#28: Right.
#28: What looked like the other thing at the curves.
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#10.5: Right or whatever. Okay. And this is the
overhang shot at the end. And this is the one
that I can (pause). . . I would like to say at
the front facing of the overhang is curved as
opposed to coming out straight and going in.
I'd like to say that its sort of curved around.
With windows in it. But then I don't know if
that's just static from my first impression of
what a theater arcade would look like, you know
cause it has windows around it.
#28:
Okay.
#10.5:
But, when I was standing, you know, not looking
sideways, that's all I saw.
#28:
Okay. (Pause) What's this?
#10.5:
From no overhang end looking back.
#28:
Yeah, I told you to go down where it was light,
turn around and look back this way.
#10.5:
Right.
#28:
You said it looks the same.
#10.5:
Um hm. But this is light. I want to say its
light again.
#28:
Okay.
#28.
And this is the top.
PAUSE
#10.5:
(not audible) back here.
#28:
Okay.
#10.5:
That's it.
#28:
Okay. Good. You got your clothes on. You feel
like you've talked your way out of this.
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#10.5: I don't know what to expect.
#28: Okay.
#10.5: What I do have to say, is that its obvious to me
that it wasn't what I thought it was going to be
on the other thing.
#28: On your other secret note thing.
#10.5: Ha Ha, I guess that's a good indication, I don't
know.
#28: Our back-up recording system in case of emergencies
works just fine.
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TAB A
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CA-
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TAB B
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TAB C
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REMOTE VIEWING (RV) SESSION II
1. (S) Post-session interviews are conducted after the
completion of a session (usually the following day) to
provide the Remote Viewer with the opportunity to express
himself concerning his viewing experience.
2. (S) #10.5 has had previous experiences similar to
remote viewing. This experience was different for him
in that he did not perceive himself to be at the target
location, as he had in his previous experiences and he
was able to talk about his impressions and images while
he was having them. Previously, he would "visit" target
locations on his own and not be able to relate information
during the experience. #10.5 wanted very much to try
remote viewing again as soon as possible. He felt that
there were things that he didn't say that now he knows he
should have. #10.5 felt he could have verbalized more
during the session.
3. (S) As to the relation between the viewer and
interviewer, it was decided that the interviewer give
more time to the viewer to respond. Additionally, the
use of "questions" on the part of the interviewer needs
to be reduced. #10.5 and the interviewer got along well
together and are developing a rapport for future sessions.
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TRANSCRIPT/INTELLIGENCE CORRELATIONS
TRANSCRIPT DATA
(ABSTRACT)
1. "The only thing I see is a
vertical line like toward the corner
of a building---like a wedge."
2. "I see -- an overhanging thing.
--And its darkened under it."
"The top is flat."
3. (The viewer has been asked to
move under the overhang and what
his perceptions are from that
point)
"Dark with light at the end."
(The viewer has been asked
to move to the light at the end,
turn around and look back)
"Dark with light at the end."
"Dark is inside--the light
is at each end."
1. Sketch correlation. The target
location is in fact a building. Two
of the photos taken by the outbound
team were toward corners of the
building.
2. Sketch correlation. There is a
drive-through order pick-up service
at this restaurant. The overhang
is present and is in fact rather
dark underneath in daytime. Although
it does not appear so, the roof of
this building is a facade and the
actual roof is indeed flat.
3. Target correlation. From under
the overhang it is possible to see
through the building to the windows
on the opposite wall. The lighting
inside is subdued and the day was
brightly sunlit giving the impression
of dark with light in the distance.
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