TABLE OF CONTENTS
A.
General
B. Background
THEORY
A.
Concept
B.
Definitions
C. Discussion
5
D. Levels of
Consciousness 6
E. Learning
Theory 8
F. Reference
Material 11
STRUCTURE
A.
Concept
B. Definitions
and Discussion
C. Summary 16
STAGE I
18
A.
Concept
B.
Definitions
C. Site
Requirements 19
D. Types of
Ideograms
E.
Vertical/Horizontal Ideogram Orientation
F. I/A/B
Formation 20
G. Phases I
and II 21
H. Drills
I. Format
A.
Concept
B.
Definitions
C. Site
Requirements
D.
Clusters
E.
"Basic" Words 25
F.
Aperture
G.
Dimensionals
H.
AOL 26
I. Aesthetic
Impact (AI)
J.
Drills/Exercises
K. Format 27
A.
Concept
B.
Definitions
C. Site
Requirements 31
D. The Six
Primary Dimensionals
E. Aesthetic
Impact
F.
Motion/Mobility 33
G. Dimensional
Expression on Paper
H.
Movement/Movement Exercises 35
I. Analytic
Overlay (AOL) in Stage III 36
J. Format 37
STAGE IV
39
A.
Concept
B.
Definitions
C. Stage IV
Matrix 40
D. Session
Format and Mechanics
E. Format 41
STAGE V
44
A.
Concept
B.
Definitions
C. Format and
Structure 45
D.
Implications 47
E.
Considerations
F. Switches 48
G. AOL and
Stage V 49
H. Format 50
STAGE VI
54
A.
Concept
B. Functions
of Modeling
C. RV
Modality
D. Discussion
55
E. Session
Mechanics
F. Format 56
GLOSSARY
THEORY
"A" Component: The
"feeling/motion" component of the ideogram. The
"feeling/motion" is essentially the impression of the physical
consistency (hard, soft, solid, fluid, gaseous, etc.) and contour/shape/motion
of the site. For example, the monitor has selected, unknown to the viewer, a
mountain as the trainee's site. At the iteration of the coordinate, the trainee
produces an appropriate ideogram, and responds verbally, at the same time as he
writes it: "Rising up, peak, down." This is the "motion"
sensation he experienced as his pen produced the ideogram. He then says
"solid," having experienced the site as being solid as opposed to
fluid or airy. This is the "feeling" component of the Stage 1
process. There are at least five possible types of feelings: solidity,
liquidity, energetic, airiness (that is, where there is more air space than
anything else, such as some suspension bridges might manifest), and
temperature. Other feeling descriptors are possible, but encountered only in
rare circumstances and connected with unusual sites. These components and how
they are expressed in structure will be discussed more fully below. Though in
discussions of theory this aspect is usually address as
"feeling/motion," it will normally be the case in actual session work
that the motion aspect is decoded first with the feeling portion coming second.
AOL ("Analytic Overlay"): The analytic
response of the viewer's mind to signal line input. An AOL is usually wrong,
especially in early stages, but often does possess valid elements of the
site[5] that are contained in the signal line; hence, a light house may produce
an AOL of "factory chimney" because of its tall, cylindrical shape.
AOLs may be recognized in several ways. First, if there is a comparator present
("it looks like...", "it's sort of...", etc.) the
information present will almost inevitably be an AOL, and should always be
treated as one. Secondly, a mental image that is sharp, clear, and static--that
is, there is no motion present in it, and in fact it appears virtually to be a
mental photograph of the site--is also certainly AOL.[6] Hesitation in
production of the "B" component in Stage I coordinate remote viewing,
or a response that is out of structure anywhere in the system[7] are also
generally sure indicators that AOL is present. Finally, the monitor or viewer
can frequently detect AOL by the inflection of the viewer's voice or other
micro behaviors.[8] Data delivered as a question rather than a statement should
be recognized as usually being AOL.
AOLs
are dealt with by declaring/objectifying them as soon as they are recognized,
and writing "AOL Break" on the right side of the paper, then writing
a brief description of the AOL immediately under that. This serves to
acknowledge to the viewer's system that the AOL has been recognized and duly
recorded and that it is not what is desired, thereby purging the system of
unwanted noise and debris and allowing the signal line in its purity to be
acquired and decoded properly.
AOL Matching: With the expansion in aperture inherent
in Stage III, and after appropriate AI, the AOL phenomenon develops to where a
viewer's AOL may match or nearly match the actual signal line impression of the
site. For example, if the site were Westminster Abbey, the viewer might produce
the AOL of Notre Dame cathedral. Or he might even actually get an image of
Westminster Abbey that nevertheless fills all the criteria for an AOL.
According to theory, the matching AOL is superimposed over the true signal
line. It is however possible with practice to distinguish the vague parameters
of the true signal line "behind" the bright, distinct, but somewhat
translucent image of the AOL. The viewer must become proficient at "seeing
through" the AOL to the signal line. Use of "seeing through"
here must not be taken to imply any visual image in the accepted sense of the
word, but rather as a metaphor best describing the perceptory effect that manifests
itself.
AOL/S: Virtually synonymous with the previously
considered term "AOL Matching," AOL/Signal occurs when an AOL
produced by the viewer's analytic mental machinery almost exactly matches the
site, and the viewer can to some extent "look" through the AOL image
to perceive the actual site. The advantage of AOL/S in Stage IV is that it
allows the information to be used without calling a break. One can ask,
"What is this trying to tell me about the site?" As an example, the
viewer may perceive the Verazzano Narrows Bridge when in fact the site is
actually the George Washington Bridge.
AOL Drive: Although mentioned before, AOL Drive
becomes a serious concern beginning in Stage III. It occurs when the viewer's
system is caught up in an AOL to the extent that the viewer at least
temporarily believes he is on the signal line, even though he is not. When two
or more similar AOLs are observed in close proximity, AOL drive should be
suspected. AOL drive is indicated by one or more of the following: repeating
signals; signal line ending in blackness; peculiar (for that particular viewer)
participation in the signal line; and/or peacocking. Causes for AOL drive
include accepting a false "B" component in Stage I; or accepting a
false sketch or undeclared AOL in Stage III. Undeclared AOLs can spawn AOL
drive in all other stages beyond Stage III as well. Once it is realized that
AOL drive is present, the viewer should take an "AOL/D Break" (as
discussed under STRUCTURE), then review his data to determine at what point he
accepted the AOL as legitimate data. After a sufficient break the viewer should
resume the session with the data obtained before the AOL drive began. Listed
below are two subspecies of AOL drive.
Ratcheting: The recurrence of the same AOL over and
over again as if trapped in a feedback loop.
AOL "Peacocking": The rapid unfolding, one
right after another, of a series of brilliant AOLs, each building from one
before, analogous to the unfolding of a peacock's tail.
Aesthetic: Sensitivity of response to given site.
Aperture: An opening or open space; hole, gap, cleft,
chasm, slit. In radar, the electronic gate that controls the width and
dispersion pattern of the radiating signal or wave.
Attributes: An attribute is a characteristic or
quality of a person or thing. "Attributes" applies to those
characteristics of the site that contributed to cognitron formation and the
aforementioned viewer response: "quiet," "dimly lit,"
"echoing," "large," etc.
Auditory: Of or pertaining to hearing, to the sense of
hearing, or to the organs of hearing. Perceived through or resulting from the
sense of hearing.
B
"B" Component: The first (spontaneous)
analytic response to the ideogram and "A" component.
Breaks: The mechanism developed to allow the system to
be put on "hold," providing the opportunity to flush out AOLs, deal
with temporary inclemencies, or make system adjustments, allowing a fresh start
with new momentum.
Break (Break): If at any point in the system the
viewer must take a break that does not fit into any of the other categories, a
"Break" is declared. It has been recommended that a break not be
taken if the signal line is coming through strong and clear. If the break is
extensive--say for twenty minutes or more, it is appropriate to objectify
"Resume" and the time at the point of resumption.
The
viewer declares a break by objectifying "AOL Break," "AI
Break," "Bilo Break," etc., as appropriate, usually in the right
hand margin of the paper. Immediately underneath he briefly objectifies in one
or a few words the cause or content of what occasioned the necessity for a
break.
There are seven types of breaks:
AOL Break: As mentioned above, allows the signal line
to be put on hold while AOL is expelled from the system.
Confusion Break (often, "Conf Bk"): When the
viewer becomes confused by events in his environment or information in the
signal line to the degree that impressions he is receiving are hopelessly
entangled, a Confusion Break is called. Whatever time necessary is allowed for
the confusion to dissipate, and when necessary the cause for confusion is
declared much like it is done with AOL. The RV process is then resumed with an
iteration of the coordinate.
Too Much Break ("TM Break"): When too much
information is provided by the signal line all at once for the viewer to
handle, a "Too Much Break" is called and written down (objectified),
telling the system to slow down and supply information in order of importance.
After the overload is dissipated, the viewer may resume from the break, normally
with the reiteration of the coordinates. A too much break is often indicated by
an overly elaborate ideogram or ideograms.
Aesthetic Impact Break ("AI Break"): Will be
discussed in conjunction with Stage III.
AOL Drive Break (AOL-D Bk): This type of break becomes
necessary when an AOL or related AOLs have overpowered the system and are
"driving" the process (as evidenced by the recurrence of a specific
AOL two or more times), producing nothing but spurious information.[10] Once
the AOL-Drive is objectified, the break time taken will usually need to be
longer than that for a normal AOL to allow the viewer to fully break contact
and allow to dissipate the objectionable analytic loop.
Bi-location Break (Bilo Bk): When the viewer perceives
he is too much absorbed in and transferred to the site and cannot therefore
appropriately debrief and objectify site information, or that he is too aware
of and contained within the here-and-now of the remote viewing room, only
weakly connected with the signal line, a Bilo break must be declared and
objectified to allow the viewer to back out, and then get properly recoupled
with the signal line again.[11]
C
Coding/Encoding/Decoding: The information conveyed on
the signal line is "encoded," that is translated into an information
system (a code) allowing data to be "transmitted" by the signal line.
Upon receiving the signal, the viewer must "decode" this information
through proper structure to make it accessible. This concept is very similar to
radio propagation theory, in which the main carrier signal is modulated to
convey the desired information.
Coordinate Remote Viewing (CRV): The process of remote
viewing using geographic coordinates for cueing or prompting.
D
Dimension: Extension in a single line or direction as
length, breadth and thickness or depth. A line has one dimension, length. A
plane has two dimensions, length and breadth. A solid or cube has three
dimensions, length, breadth and thickness.
Dimensionals: "Dimensionals" have a broader
meaning in Stage IV than in Stage III. In Stage IV, more detailed and complex
dimensionals can be expected and are now considered to be in structure and
therefore more reliable. "Spired," "twisted,"
"edged," "partitioned," etc. are only a few examples.
Drawing: The act of representing something by line,
etc.
E
Emotional Impact: The perceived emotions or feelings
of the people at the site or of the viewer. Sometimes the site itself possesses
an element of emotional impact, which is imprinted with long or powerful
associations with human emotional response.
Evoking: (Evoke: "to call forth or up; to summon;
to call forth a response; elicit.") Iteration of the coordinate or
alternate prompting method is the mechanism which "evokes" the signal
line, calling it up, causing it to impinge on the autonomic nervous system and
unconsciousness for transmittal through the viewer and on to objectification
(discussed at length in STRUCTURE).
F
Feedback: Those responses provided during the session
to the viewer to indicate if he has detected and properly decoded site-relevant
information; or, information provided at some point after completion of the RV
session or project to "close the loop"
Correct (abbreviated "C"): The data bit
presented by the trainee viewer is assessed by the monitor to be a true
component of the site.
Probably Correct ("PC"): Data presented
cannot be fully assessed by the monitor as being accurate site information, but
it would be reasonable to assume because of its nature that the information is valid
for the site.
Near Site ("N"): Data objectified by the
viewer are elements of objects or locations near the site.
Can't Feed Back ("CFB"): Monitor has
insufficient feedback information to evaluate data produced by the viewer.
Site ("S"): Tells the former that he has
successfully acquired and debriefed the site. In elementary training sessions,
this usually signifies the termination of the session. At later stages, when
further information remains to be derived from the site, the session may continue
on beyond full acquisition of the site.
Silence: When information objectified by the trainee
viewer is patently incorrect, the monitor simply remains silent, which the
viewer may freely interpret as an incorrect response.
In
line with the learning theory upon which this system is based, the intent is to
avoid reinforcing any negative behavior or response. Therefore, there is no
feedback for an incorrect response; and any other feedback information is
strictly limited to those as defined above.
It
should be noted here that the above refers to earlier stages of the training
process. Later stages do away with in-session feedback to the viewer, and at
even later stages the monitor himself is denied access to any site information
or feedback until the session is over.
G
Gestalt: A unified whole; a configuration, pattern, or
organized field having specific properties that cannot be derived from the
summation of its component parts.
Major Gestalt: The overall impression presented by all
elements of the site taken for their composite interactive meaning. The one
concept that more than all others would be the best description of the site.
I
I/A/B Sequence: The core of all CRV structure, the
"I/A/B" sequence is the fundamental element of Stage I, which is
itself in turn the foundation for site acquisition[2] and further site
detection and decoding in subsequent CRV stages. The sequence is composed of an
ideogram (the "I"), which is a spontaneous graphic representation of
the site's major gestalt; the "A" component or
"feeling/motion" involved in the ideogram; and the "B"
component, or first analytic response to the signal line. (A full discussion
may be found in the Stage I section below.)
Idea: Mental conception; a vague impression; a hazy
perception; a model or archetype.
Ideogram: The "I" component of the I/A/B
sequence. The ideogram is the spontaneous graphic representation of the major
gestalt, manifested by the motion of the viewer's pen on paper, which motion is
produced by the impingement of the signal line on the autonomic nervous system
and the reflexive transmission of the resultant nervous energy to the muscles
of the viewer's hand and arm. The objectified ideogram has no
"scale;" that is, the size of the ideogram relative to the paper
seems to have no relevance to the actual size of any component at the site.
Impact: A striking together; changes, moods, emotions,
sometimes very gross, but may be very weak or very subtle.
Inclemencies: Personal considerations that might
degrade or even preclude psychic functioning. Muscle pains, colds, allergies,
menstrual cramps, hangovers, mental and emotional stress, etc., could cause
increased difficulty to the viewer in accessing the signal line, but could be
"worked through," and ultimately are only minor nuisances. Only
hunger and a pressing need to eliminate body wastes cause the system to totally
not function. It is important, though, that the viewer identify and declare any
inclemencies either at the first of the session or as they are recognized,
since unattended agendas such as these can color or distort the viewer's
functioning if not eliminated from the system through objectification (see
below). Preferably, the monitor will ask the viewer if he has any personal
inclemencies even before the first iteration of the coordinate so as to purge
the system as much as possible before beginning the session proper.
Intangibles: Qualities of the site that are perhaps
abstract or not specifically defined by tangible aspects of the site, such as
purposes, non-physical qualities, categorizations, etc.; i.e.,
"governmental," "foreign," "medical,"
"church," "administrative," "business,"
"data-processing," "museum," "library," etc.
M
Matrix: Something within which something else
originates or takes form or develops. A place or point of origin or growth.
Mobility: The state or quality of being mobile.
Monitor: The individual who assists the viewer in a
remote viewing session. The monitor provides the coordinate, observes the
viewer to help insure he stays in proper structure (discussed below), records
relevant session information, provides appropriate feedback when required, and
provides objective analytic support to the viewer as necessary.[4] The monitor plays
an especially important role in training beginning viewers.
Motion: The act or process of moving.
O
Objects: An object is a thing that can be seen or
touched. "Objects" can be understood as those physical items present
at the site that helped cause the cognitron to form in the viewer's mind and
hence prompt his response of "religious;" i.e., "robes,"
"candles," "incense," etc.
Objectification: The act of physically saying out loud
and writing down information. In this methodology, objectification serves
several important functions. First, it allows the information derived from the
signal line to be recorded and expelled from the system, freeing the viewer to
receive further information and become better in tune with the signal line.
Secondly, it makes the system independently aware that its contributions have
been acknowledged and recorded. Thirdly, it allows re-input of the information
into the system as necessary for further prompting. In effect, objectification
"gives reality" to the signal line and the information it conveys.
Finally, objectification allows non-signal line derived material (inclemencies,
AOLs, etc.) that might otherwise clutter the system and mask valid signal line
data to be expelled.
P
Perceptible: That which can be grasped mentally
through the senses.
Prompt: To incite to move or to action; move or
inspire by suggestion.
R
Remote Viewer: Often referred to in the text simply as
"viewer," the remote viewer is a person who employs his mental
faculties to perceive and obtain information to which he has no other access
and of which he has no previous knowledge concerning persons, places, events,
or objects separated from him by time, distance, or other intervening
obstacles.
Remote Viewing (RV): The name of a method of psychoenergetic
perception.[1] A term coined by SRI-International[2] and defined as "the
acquisition and description, by mental means, of information blocked from
ordinary perception by distance, shielding or time."[3]
Rendering: Version; translation (often highly
detailed).
S
Self-Correcting Characteristic: The tendency of the
ideogram to re-present itself if improperly or incompletely decoded. If at the
iteration of the coordinate an ideogram is produced and then decoded with the
wrong "A" & "B" components, or not completely decoded,
upon the next iteration of the coordinate the same ideogram will appear,
thereby informing the viewer that he has made an error somewhere in the
procedure. On rare occasions, the ideogram will be re-presented even when it has
been properly decoded. This almost inevitably occurs if the site is extremely
uniform, such as the middle of an ocean, a sandy desert, glacier, etc., where
nothing else but one single aspect is present.
Sense: Any of the faculties, as sight, hearing, smell,
taste, or touch, by which man perceives stimuli originating from outside or
inside the body.
Sensory: Of or pertaining to the senses or sensations.
Signal: Something that incites into action; an
immediate cause or impulse. In radio propagation theory, the carrier wave that
is received by the radio or radar receiving set.
Signal Line: The hypothesized train of signals
emanating from the Matrix (discussed below) and perceived by the remote viewer,
which transports the information obtained through the remote viewing process.
Sketch: To draw the general outline without much
detail; to describe the principle points (idea) of.
Subjects: "Subject" is defined as
"something dealt with in a discussion, study, etc.,"
"Subjects" are emanations that might serve a nominative function in
describing the site, or be abstract intangibles, or they could be more specific
terms dealing with function, purpose, nature, activities, inhabitants, etc., of
the site: in the above example, "reverence," "worship,"
"respect," "harmonious chanting," etc.
T
Tactile: Of, pertaining to, endowed with, or affecting
the sense of touch. Perceptible to the touch; capable of being touched;
tangible.
Tangibles: Objects or characteristics at the site
which have solid, "touchable" impact on the perceptions of the
viewer, i.e., tables, chairs, tanks, liquids, trees, buildings, intense smells,
noises, colors, temperatures, machinery, etc.
Topics: "Topic" is defined as "a
subject of discourse or of a treatise; a theme for discussion." Closely
related to "subjects," "topics" often prove to be
sub-elements of one or more of the subjects already listed, and frequently are
quite specific: "mass," "Catholic," "priest,"
"communion," and so forth. An interesting phenomenon to be here
considered is that just as one of the subjects encountered may produce several
topics, a topic itself may in turn be considered as a subject and produce
topics of its own. This construction appears to be very hierarchical and
"fractalized," with larger cognitrons being subdivided into smaller
ones, which in turn can be further divided, and so on. In fact, any emanation
thus "broken out," or "stage-fived" can itself often be
further "stage-fived," and subdivided into its own object/attribute/subject/topic
categories.
Track: To trace by means of vestiges, evidence, etc.;
to follow with a line.
V
Vision: One of the faculties of the sensorum,
connected to the visual senses out of which the brain constructs an image.
W
Wave: A disturbance or variation that transfers itself
and energy progressively from point to point in a medium or in space in such a
way that each particle or element influences the adjacent ones and that may be
in the form of an elastic deformation or of a variation of level or pressure,
of electric or magnetic intensity, of electric potential, or of temperature.
The Coordinate Remote Viewing Manual
Introduction by Paul H. Smith [Major, ret.]
For a number of what I consider to be very good
reasons, I strenuously resisted making the DIA CRV manual public. Since some of
my former colleagues had fewer reservations about its dissemination, it now
appears inevitable that the manual will become widely available, beginning with
its posting here on this webpage. The best I can do now, it would seem, is to at
least provide its context so people will better know how to take it.
In 1983-1984, six personnel from the military remote
viewing unit at Ft. Meade participated in training contracted from
SRI-International. This was the recently-developed coordinate remote viewing
training, and the primary developer and trainer was the legendary Ingo Swann.
One of the first trainees, Rob Cowart, was diagnosed with cancer, and was
medically retired from active duty, terminating his training after only a few
months. (Sadly Rob, who had been in remission for many years, died a year or so
ago from the disease.) The second, Tom "Nance" (his pseudonym in Jim
Schnabel’s book, Remote Viewers) completed all training through Stage VI as the
proof-of-principle "guinea pig." His results were not just
impressive. Some could even be considered spectacular.
Beginning in January of 1984, the remaining four of us
began training with Ingo in California and New York. This contract lasted for a
full year. Ed Dames, "Liam," Charlene, and myself continued through
until December (though Ed dropped out just before completion due to the birth
of a son). We completed through Stage III training with Ingo. Towards the end
of 1984 our patron and commander, Major General Burt Stubblebine was forced to
retire and the RV program was threatened with termination. Consequently, no
further contracts were let for training.
During the course of 1985, our future was very
uncertain. However, the branch chief, together with Fred "Skip"
Atwater (the training and operations officer), were hopeful that the unit would
find a sponsor (which indeed happened) and decided to continue our training
through Stage VI, with the help of Nance’s experience and considerable
documentation and theoretical understanding that Atwater and others had managed
to accrue.
At the conclusion of our training, and with a number
of successful operational and training projects under out belts to show that
CRV really did work, the further decision was made to try and capture in as
pure a form as possible the Ingo methodology. The reasoning was that we might
never get any more out-of-house training approved, yet we needed to be able to
perpetuate the methodology even after the folks with the "institutional
memory" eventually left the unit. I had developed the reputation of being
the "word man" in the unit, plus Skip and the branch chief seemed to
think I had a firm understanding and grasp of the theory and methodology, so I
was asked to write a manual capturing as much of the CRV methodology as possible,
with the assistance of the others who had been trained.
We pooled our notes, and I wrote each section, then
ran it by the others for their suggestions and comments. Corrections and
suggestions were evaluated and added if it could be established that they
matched true "Ingo theory." Skip and Tom both reviewed the manuscript
and provided their input as well. When the thing was finally done, a copy was
forwarded to Ingo, who deemed it a "comprehensive and accurate
document." Finally, Skip provided a three-page introductory section which
it now turns out was apparently originally drafted by Joe McMoneagle. The
finished version was printed at the DIA press in May 1986. It was a specialty
run, and was never given an official DIA document number. I don’t believe any
more than thirty or so were printed.
Things to keep in mind about the CRV manual: It wasn't
intended as a training manual per se, and certainly not as a stand alone
training manual. It’s primary purpose was to capture and preserve for posterity
Ingo’s methodology. The very first page declares that it was "prepared to
serve as a comprehensive explanation of the theory and mechanics" of CRV,
and as a "guide for future training programs." We certainly didn't
develop it as a "how to." Since we always assumed any further
training to be done would either involve Ingo or someone who had already been
trained, the manual did not incorporate lessons-learned, nor the practical
implementation of CRV in an operational setting, nor even to explain how one
taught people to do CRV, nor why CRV included certain points of theory and
process in its methodological base. There are of course lots of things to be
said about all these points, and we had ambitions at one time of writing a
practical hands-on RV training manual. Unfortunately, events conspired against
us and it never happened.
In the hands of someone who understands CRV and
already knows what is going on, the manual can be extremely useful in teaching others
to remote view. We used it in the theory and lecture part of the CRV training
of everyone who became a CRVer at the Ft. Meade unit (the one exception was Lyn
Buchanan, whom we taught CRV before the manual became reality). I have used it
exclusively in my commercial training activities (augmented, of course, by my
own experience in training and operations), and I think most, if not all of my
students would confirm the efficacy of this approach. It represents CRV in its
purest form, and any departures from the principles it contains should be
examined at long and hard before they are accepted. There are already a number
of alleged "product improvements" based upon the CRV manual that not
only are not improvements, but if they aren’t just changing "happy"
to "glad" or adding superfluous embellishments, may even be outright
eviscerations of CRV’s principles and effective methodologies. In considering
these "new versions" of CRV methodology, it is definitely a case of
caveat emptor.
I see as a positive benefit of posting the manual that
some of the chicanery and foolishness may finally be unveiled that has been
able to persist around derivatives of CRV because the "bottom line"
hasn’t until now been available. There are of course those who will offer as their
excuse that this manual represents obsolete technology. My response is that
none of its derivatives have thus far demonstrated anything better--or in most
cases even as good--under similar constraints.
Paul H. Smith
A. General
The
following definitions and descriptions are provided to acquaint the reader with
the remote viewing phenomenon and a typical remote viewing session.
1. Definitions:
a. Remote Viewing (RV): The name
of a method of psychoenergetic perception. A term coined by SRI-International
and defined as "the acquisition and description, by mental means, of
information blocked from ordinary perception by distance, shielding or
time."
b. Coordinate Remote Viewing
(CRV): The process of remote viewing using geographic coordinates for cueing or
prompting.
c. Remote Viewer: Often referred
to in the text simply as "viewer," the remote viewer is a person who
employs his mental faculties to perceive and obtain information to which he has
no other access and of which he has no previous knowledge concerning persons,
places, events, or objects separated from him by time, distance, or other
intervening obstacles.
d. Monitor: The individual who
assists the viewer in a remote viewing session. The monitor provides the
coordinate, observes the viewer to help insure he stays in proper structure
(discussed below), records relevant session information, provides appropriate
feedback when required, and provides objective analytic support to the viewer
as necessary. The monitor plays an especially important role in training
beginning viewers.
2. Descriptions:
a. Remote Viewing Session: In a
remote viewing session an individual or "viewer" attempts to acquire
and describe by mental means alone information about a designated site. The
viewer is not told what the site is that must be described but is provided a
cue or prompt which designates the site.
b. Session Dynamics: In
conducting a coordinate remote viewing session, a remote viewer and a monitor
begin by seating themselves at the opposite ends of a table in a special remote
viewing room equipped with paper and pens, a tape recorder, and a TV camera which
allows either recording for documentation, or monitoring by individuals outside
the room. The room is homogeneously-colored, acoustic-tiled, and featureless,
with light controlled by a dimmer, so that environmental distractions can be
minimized. The session begins when the monitor provides cueing or prompting
information (geographic coordinates in this case) to the remote viewer. The
remote viewer is given no additional identifying information, and at this point
has no conscious knowledge of the actual site. For training purposes, the
monitor is allowed to know enough about the site to enable him to determine
when accurate versus inaccurate information is being provided. The session then
proceeds with the monitor repeating the prompting information at appropriate
intervals and providing necessary feedback. The remote viewer generates verbal
responses and sketches, until a coherent response to the overall task
requirement emerges.
c. Post Session Dynamics: After
the session is over, the remote viewer and monitor obtain specific information
about the site in picture/descriptive form. The remote viewer and monitor then
discuss the session results.
B. Background:
In early
1980, an SRI - International (SRI-I) subcontractor developed a training
procedure known as Coordinate Remote Viewing to satisfy R&D demands on
SRI-I to enhance the reliability (scientific replicability) of remote viewing
(RV). The subcontractor's approach to improving the reliability of RV was to
focus on the control of those factor that in his view tend to introduce
"noise" into the RV product (imaginative, environmental, and
interviewer overlays). The basic components of this training procedure consist
of:
(1) Repeated
site-address (geographic coordinate) presentation, with quick-reaction response
by the remote viewing; coupled with a restrictive format for reporting
perceived information (to minimize imaginative overlays).
(2) The use of
a specially-designed, acoustic-tiled, relatively featureless, homogeneously-colored
"viewing chamber" (to minimize environmental overlays).
(3) The
adoption of a strictly-prescribed, limited interviewer patter (to minimize
interviewer overlays).
The
training procedure requires that the trainee learn a progressive, multi-stage
acquisition process postulated to correspond to increased contact with the
site. At present there are six "stages" of training. In general,
these stages progress as follows:
(1)
"Stage I" sites (islands, mountains, deserts, etc.).
(2)
"Stage II" sites (sites of quality sensory value--sites which
are uniquely describable through touch, taste, sound, color, or odor--such as
glaciers, volcanoes, industrial plants, etc.).
(3)
"Stage III" sites (sites possessing significant dimensional
characteristics such as buildings, bridges, airfields, etc.).
(4)
"Stage IV" sites for which the trainee begins to form
qualitative mental percepts (technical area, military feeling, research, etc.).
(5)
"Stage V" sites for which the trainee learns to "interrogate"
qualitative mental percepts in an attempt to product analytical target
descriptions (aircraft tracking radar, biomedical research facility, tank
production plant, etc.).
(6)
"Stage VI" sites which involve the trainee in direct,
three-dimensional assessment and modeling of the site and/or the relationship
of site elements to one another (airplanes inside one of three camouflaged
hangars or a military compound with a command building, barracks, motor pool,
and underground weapons storage area).
The following document has been prepared to
serve as a comprehensive explanation of the theory and mechanics of CRV as
developed by SRI-I. It is intended for individuals who have no in-depth
understanding of the technology and as a guide for future training programs.
Particular attention should be paid to the glossary at the end of the document
and to the terms as defined in the text, as they are the only acceptable
definitions to be used when addressing the methodology presented.
A. Concept:
Any
given site has an overall nature or "gestalt," as it is referred to
below, that makes it uniquely what it is. In Stage I, the remote viewer is
taught to acquire the signal line, attune himself to it, and proceed to decode
and objectify this site getalt and the major pieces of information that pertain
to it. A properly executed Stage I is the very foundation of everything that
follows after it, and it is therefore of utmost importance to maintain correct
structure and achieve an accurate Stage I concept of the site. All CRV sessions
begin with Stage I.
B. Definitions:
1.
Major Gestalt: The overall impression presented by all elements of the site
taken for their composite interactive meaning. The one concept that more than all
others would be the best description of the site.
2.
Ideogram: The "I" component of the I/A/B sequence. The ideogram is
the spontaneous graphic representation of the major gestalt, manifested by the
motion of the viewer's pen on paper, which motion is produced by the
impingement of the signal line on the autonomic nervous system and the
reflexive transmission of the resultant nervous energy to the muscles of the
viewer's hand and arm. The objectified ideogram has no "scale;" that
is, the size of the ideogram relative to the paper seems to have no relevance
to the actual size of any component at the site.
3. "A" Component: The "feeling/motion" component of the ideogram. The "feeling/motion" is essentially the impression of the physical consistency (hard, soft, solid, fluid, gaseous, etc.) and contour/shape/motion of the site. For example, the monitor has selected, unknown to the viewer, a mountain as the trainee's site. At the iteration of the coordinate, the trainee produces an appropriate ideogram, and responds verbally, at the same time as he writes it: "Rising up, peak, down." This is the "motion" sensation he experienced as his pen produced the ideogram. He then says "solid," having experienced the site as being solid as opposed to fluid or airy. This is the "feeling" component of the Stage 1 process. There are at least five possible types of feelings: solidity, liquidity, energetic, airiness (that is, where there is more air space than anything else, such as some suspension bridges might manifest), and temperature. Other feeling descriptors are possible, but encountered