SECTION ONE
PART I - BACKGROUND

Chapter 1
A TURNING POINT
 

Humanity is at a turning point in its history. Down through the ages, sages in every civilization have said that there is more to life than merely the flesh and bones within which we dwell. We have souls, and physical death is but a blink in our awareness. This concept is easy enough to entertain. From religious beliefs to reports of life after death, all of us have felt, at one time or another, that there is something beyond our mortal selves.

The continuum of life, though, may be vaster than we ever realized. For some time many scientists have believed that we are not alone in the universe. Scattered throughout the far reaches of space, other life forms exist. Until recently we have been unable to contact these beings. Yet if we had a method that combined the intuitive perception of the sages with the rigor of modern science, then humans could find their true place in the cosmos.

What needs to be examined is a component of the current "scientific" worldview that maintains that only that which is physical is real. The basis of this relatively new religion of scientific atheism is the belief that consciousness is limited to the physical mind, and that when the brain stops functioning, consciousness ceases to exist. When this happens, the personality of the individual is gone forever. But what if the sages from the past are right? The demise of scientific atheism would cause people everywhere to turn inward, in order to seek that which resides beyond. A new scientific age not divorced from the spiritual would dawn.

To accomplish this, a new method, a new tool for exploration, is needed. Based on the explorations of myself and others, I believe such a method exists. This new and surprisingly accurate method of data collection is called "remote viewing." There is now a new scientific field of consciousness that specializes in the study of this phenomenon. People can be trained to use remote viewing to collect information across time and space.

Remote viewing is not easy to do, and to use it with consistent accuracy requires extensive training and practice. Explicit procedures have been designed to aid communication between the physical mind and what many call the "subspace" mind (the soul). Souls exist in subspace, that vast domain diversely referred to by mystics and theologians as the etheric realm, heaven, or the afterlife. Humans can learn to become directly aware of their subspace aspects, normally hidden from them until they die and their bodies drop away.

Remote viewing has its origins in the procedures developed largely by Ingo Swann, working under contract at SRI International (formerly Stanford Research Institute) in a program that was funded by various United States governmental agencies, notably the Defense Intelligence Agency (DIA). This program began in the early 1970s and continued until 1989. In 1990 the government transferred its financial support to a program housed at Science Applications International Corporation (SAIC).

The original primary researchers were Russell Targ and Harold Puthoff. Their work in the program involved contact with a number of scientific luminaries, including Charles Tart. Edwin May worked in the program since the mid 1970s, and he became the project director in 1986. When subsequent government funding for remote-viewing research switched to SAIC, Dr. May continued as director.

The current understanding of remote viewing is based on a rich history of experimentation and discovery. In these two decades the literature on remote viewing—both historical and otherwise—has grown to be quite extensive. Over the past few years a number of scientists and remote viewers have risked public ridicule and their professional reputations to pursue re-search in this new and controversial field.

While this is not the appropriate setting to present a complete history of remote viewing, some recently published books contain detailed historical background of both the scientific and military investigations into psi phenomena generally and remote viewing in particular.

Readers who are interested in this background should read,

• The Conscious Universe: The Scientific Truth of Psychic Phenomena by Dean Radin (1997)

• Remote Viewers: The Secret History of America's Psychic Spies by Jim Schnabel (1997)

I also strongly recommend interested readers to examine the Spring 1996 volume of the Journal of Scientific Exploration (Volume 10, number 1), dedicated almost entirely to the scientific history of remote viewing.

For all its intelligence uses, though, it is remote viewing's ability to penetrate the subspace realm that has led to knowledge of an entirely different sort. Most human efforts to contact other worlds have focused on radio signals or other "hard science" data. Yet what we have been assuming is that extraterrestrials are limited to our own fairly unimpressive modes of communication. What has been discovered through repeated sessions of remote viewing is that the pathway to other worlds lies in the subspace realm.

Remote-viewing evidence suggests that many extraterrestrial species are highly telepathic. Indeed, the human species may be unique in that we have such difficulty perceiving things with our souls while we are physical beings. We already know the universe is a very complex place. In this light, demanding that other life forms communicate only the way we do is tantamount to demanding that the wind blow the way we say.

By using the tools of consciousness, we may be able to fulfill our potential and contact more advanced forms of life. By developing knowledge on the subspace level (that is, the level of the soul), we could protect ourselves by making educated choices regarding our own destiny.

Humanity needs vision of all sorts to prosper in a complex universe, and that total vision includes the ability to perceive beyond the physical/subspace divide. In a complex universe, global awareness could not only open new avenues of knowledge, but protect us from harm. If we had the ability to interact with other beings, our human energies could propel us into a future in which we determine our own destiny.

These are uncertain times. As is characteristic of all history, events will happen in our future that will be unexpected. We need to add a degree of control to our future evolution. Control is not obtained through continued ignorance but by increased awareness. Remote viewing is one way we can increase our knowledge of the universe.

THE PLAN OF THIS BOOK

Part I is an overview of the mechanics of Scientific Remote Viewing. It provides the basis for understanding the chapters that follow. Some readers who read my earlier book, Cosmic Voyage, will find the section involving types of remote-viewing data familiar. But there are many other elements that have never been published before. Explaining the mechanics helps remove the mystery from the actual sessions that are the heart of this book.

Part II contains a series of remote-viewing sessions using verifiable targets. These chapters are included so that readers can see how the mechanics of Scientific Remote Viewing work with targets about which solid data is known. The targets cover a wide range of substantive areas, and even if the discussion of the extraterrestrials that follows challenges the belief system of some readers, the verifiable targets will give everyone something to think about.

Section 2 of this book contains four parts in which I present new remote-viewing data involving extraterrestrials currently interacting with Earth in varying degrees. The chapters in Section 2 contain information that is crucial for everyone who has an open mind regarding these matters to understand. It contains much of the substantive basis upon which we, as humans, must decide the course of our collective future.

This book is not designed to make people feel comfortable. It is crisis, not confirmation, that assists our species as we make important evolutionary advances. This book is structured to force people to confront ideas that do not conform with pre-existing paradigms.

The truth regarding these issues will not come easily. But the future potential of humankind rests with our success in creating this shift in our collective thought. With a little prodding, humanity may eventually understand and accept these spiritual and scientific ideas, but we do not have the luxury of waiting. As I explain in the pages that follow, our options for the future may soon be dramatically restructured for the worse. Through our own actions we will define and create our destiny.
 

Back to Contents

Chapter 2
SCIENTIFIC REMOTE VIEWING
 

The method of remote viewing that is the focus of this book began to evolve in earnest in 1996 due to research that was and continues to be conducted at The Farsight Institute. This is a non-profit research and educational institute based in Atlanta, Georgia, that is dedicated to the continued development of the science of consciousness using remote viewing as the primary research tool. I am the director of the institute.

Underpinning all of the research is the hypothesis that all humans are composite beings. This means that we have two fundamental aspects: a soul and a body. In the current jargon of remote viewing, the soul is called the "subspace aspect" of a person. The physical realm of solid matter is both separate from and connected to subspace. Once our physical bodies expire, we are no longer composite beings, and we continue our existence as subspace entities.

While we are composite beings, physical stimuli tend to dominate our awareness. This means that our five senses (taste, touch, sight, hearing, smell) overshadow the more intuitive awareness originating from the subspace side. In practical terms, this means that most people are not aware that they even have a subspace aspect. In short, soul voices are deafened by the din of our five physical senses.

In order to break through this noise, specialized techniques are required. In general, these techniques focus on shifting a per-son's awareness away from the five physical senses. It is not necessary to force a shift in one's awareness toward the subspace aspect. This happens automatically once a person's awareness is no longer riveted on the physical side of life.
For this reason, I advise combining the practice of remote viewing with the practice of meditation.

The form of meditation that I enjoy is Transcendental Meditation (TM), or the more advanced TM-Sidhi Program. My preference is based on the fact that TM is a mechanical procedure, and it has no belief or religious requirement associated with it. The mechanics of TM are also quite stress free and relaxing. Again, these are only my preferences. Many people who participate in other programs for the development of consciousness have also learned remote viewing.

Remote viewing is a natural process of a deeply settled mind. Remote perception works best when it is not forced in any way I have often said that the ancient seers were our first human astronauts. While in a deeply relaxed state, they let their minds roam across the fabric of the universe, and some perceived what was there with surprising accuracy.

The subspace mind, the intelligence of the soul, perceives and processes information differently from the physical mind. All evidence suggests that the subspace mind is omnipresent across space and time. It is everywhere at once. Using the capabilities of the subspace mind, remote viewing involves no more than shifting one's awareness from one place and time to another. You do not go anywhere when you remote view. You do not leave your physical body You do not induce an altered state of consciousness. You merely follow a set of procedures that allows you to shift your awareness from one area of your intelligence to another.

As physical beings, though, we must translate the information perceived by our subspace aspects into physical words, pictures, and symbols so that this information can be conveyed to others within the physical realm. Scientific Remote Viewing (SRV) facilitates this translation. Remote viewing would be impossible in the absence of the human soul, since it is otherwise physically impossible for an individual's conscious mind to perceive things without direct physical contact of some sort.

COMMUNICATING WITH THE SOUL

Soul-level communication is not as easy as you might initially think. On one level, communication using the soul is as natural as breathing. While the theoretical principles underlying how this is done are quite simple, knowing with some degree of certainty that the communication is accurate is more difficult.

Subspace information has a mental flavor that is distinctly different from that obtained from the five physical senses. It is much more subtle and delicate. For this reason, sensory input from the five physical senses needs to be kept to a minimum both immediately prior to and during a remote-viewing session. That's why one begins with meditation or other procedures to calm the mind, and then to shift one's awareness away from the physical senses.

The five physical senses are not the only hurdles confronting the remote viewer. The thinking, judgmental, and evaluative processes of the conscious mind can also inhibit success. The conscious mind can contaminate accurately perceived information. The amount of information the conscious mind has regarding the target during the remote-viewing session has to be minimized.

Information coming from the subspace mind is typically called "intuition." This is a feeling about something, which one otherwise would have no direct knowledge of on the physical level of existence. For example, many mothers say they know when one of their children is in trouble. They feel it in their bones, so to speak, even when they have not been told anything specific regarding their child's situation. SRV systematizes the reading of intuition.

Using SRV, the information from the subspace mind is recorded before the conscious mind has a chance to interfere with it using normal intellectual processes such as rationalization or imagination. With nearly all physical phenomena, a time delay exists between sequential and causally connected events.

For example, when one turns on a computer, it takes awhile for the machine to boot up. When the institute teaches remote viewing to novices, we exploit the fact that there is approximately a three-second delay between the instant the subspace mind obtains information and the moment when the conscious mind can react to this information.

The subspace mind, on the other hand, apparently has instantaneous awareness of any desired piece of information. In general, the novice viewer using SRV protocols moves steadily through a list of, say, a few hundred things at basically a three-second clip for each one. The tasks carried out in the protocols are carefully designed to produce an accurate picture of much of the target by the end of the session.

It is crucial to emphasize at this point that there must be no deviation from the grammar of the protocols. This is particularly true for novices. If there is a deviation, one only has to be re-minded that it is the conscious mind that designs this deviation. When this happens, the subspace mind loses control of the session, and the data from that point on in the session are often worthless.

TARGET COORDINATES

Scientific Remote Viewing always focuses on a target. A target can be almost anything about which one desires information. Typically, targets are places, events, or people. But advanced viewers also work with more challenging targets.
An SRV session begins by executing a set of procedures using target coordinates. These are essentially two randomly generated four-digit numbers that are assigned to the target.

The remote viewer does not know what target the numbers represent, yet extensive experience has demonstrated that the subspace mind instantly knows the target even if it is only given its coordinate numbers. The remote viewer is not told the target's identity until after the session is completed.

For all of the remote-viewing sessions presented in this book, the only thing I was given prior to the beginning of the sessions was a fax or an e-mail from my "tasker" telling me the target's coordinates. The tasker is someone who tasks or assigns a target.

For example, if the target was the Taj Mahal, I would not be told to remote-view the Taj Mahal, since this would activate all of the information held by my conscious mind regarding this structure, meaning that I would have a difficult time differentiating the remote-viewing data from memories or imagination. Instead, the tasker would tell me that the numbers were, say 1234/5678.

My conscious mind would not know what target is associated with these numbers, but my subspace mind would know the target immediately A productive session would then include good sketches of the structure, or at least aspects of the structure, together with written descriptive data of the building and its surroundings, including people who may be in or near the building.

THE SRV PROTOCOLS

Scientific Remote Viewing has five distinct phases, which follow one after the other during an SRV session. In each phase the viewer is brought into either a closer or an altered association with the target. SRV is performed by writing, on pieces of plain white paper with a pen, sketches and symbols that represent aspects of the target.

The viewer then probes these marks with the pen to sense any intuitive ideas. Since the subspace mind perceives all aspects at once, probing a mark is a way of focusing attention on the desired aspect.

The five phases of the SRV process are as follows:

• Phase 1. This establishes initial contact with the target. It also sets up a pattern of data acquisition and exploration that is continued in later phases. This is the only phase that directly uses the target coordinates. Once initial contact is established, the coordinates are no longer needed. Phase 1 essentially involves the drawing and decoding of what is called an "ideogram" in order to determine primitive descriptive characteristics of the target.
   

• Phase 2. This phase increases viewer contact with the site. Information obtained in this phase employs all of the five senses: hearing, touch, sight, taste, and smell. This phase also obtains initial magnitudes that are related to the target's dimensions.
   

• Phase 3. This phase is a sketch of the target.
   

• Phase 4. Target contact in this phase is more detailed. The subspace mind is allowed significant control in solving the remote-viewing problem by permitting it to direct the flow of information to the conscious mind.
   

• Phase 5. In this phase the remote viewer can conduct some guided explorations of the target that would be potentially too leading to be allowed in Phase 4. Phase 5 includes specialized procedures that can dramatically add to the productivity of a session. For example, one Phase 5 procedure is a locational sketch in which the viewer locates a target in relation to some geographically defined area, such as the United States.

CATEGORIES OF REMOTE-VIEWING DATA

Remote-viewing data can be obtained under a variety of conditions, and the nature of these conditions produces different types of data. There are six different types of remote-viewing data, and there are three distinguishing characteristics of the various types of data.

The first distinguishing characteristic is the amount of information the viewer has about the target prior to the beginning of the remote-viewing session. The second is whether or not the viewer is working with a person called a "monitor," explained below. The third is determined by how the target is chosen.

• Type 1 Data
  When a remote viewer conducts a session alone, the conditions of data collection are referred to as "solo." When the session is solo and the remote viewer picks the target (and thus has prior knowledge of the target), the data are called Type 1 data.

  
  Knowing the target in advance is called "front loading." Front loading is rarely necessary and should be avoided in general, but sometimes a viewer simply needs to know something about a known target and has no alternative. Such sessions are very difficult to conduct from a practical point of view. The viewer's conscious mind can more easily contaminate these data, since the viewer may have preconceived notions of the target. Rarely do even advanced viewers attempt such sessions. Any findings are considered suspect, and attempts are made to corroborate the data with other data obtained under blind conditions (see Type 2 data).
   

• Type 2 Data
  When the target is selected at random from a predetermined list of targets, the data are called "Type 2" data. For this, a computer (or a human intermediary) normally supplies the viewer with only the coordinates for the target. Even if the viewer knows the list of targets, since sometimes the viewer has been involved in designing the list, only the computer knows which coordinate numbers are associated with each target. It is said that the viewer is conducting the session blind, which means without prior knowledge of the target.
   

• Type 3 Data
  Another type of solo, blind session is used to collect Type 3 data. In this case the target is determined by someone (a tasker). During training, viewers may (rarely) receive some limited information regarding the target—perhaps whether the target is a place or an event. Advanced viewers are normally not told any-thing other than the target coordinates.

  
  Solo sessions can yield valuable information about a target, but trainees often find that more in-depth information can be obtained when someone else is doing the navigation. This other person is called a "monitor," and monitored sessions can be spectacularly interesting events for the new remote viewer.
   

• Type 4 Data
  There are three types of monitored SRV sessions. When the monitor knows the target but communicates only the target's coordinates to the viewer, this generates Type 4 data. These types of monitored sessions are often used in training. Type 4 data can also be very useful from a research perspective, since the monitor has the maximum amount of information with which to direct the viewer. In these sessions, the monitor tells the viewer what to do, where to look, and where to go. This allows the viewer to al-most totally disengage his or her analytic mental resources while the monitor does all of the analysis.

  
  One of the troubles with Type 4 data for advanced practitioners is that their telepathic capabilities become so sensitive that they can be led during the sessions by the thoughts of the monitors. Even slight grunts, changes in breathing, or any other signal, however slight, can be interpreted as a subtle form of leading by the monitor, which in turn could contaminate the data. To eliminate these problems, advanced monitored sessions are normally conducted under double-blind conditions, yielding Type 5 data.
   

• Type 5 Data
  For this level both the viewer and the monitor are blind, and the target either comes from an outside agency or it is pulled by a computer program from a list of targets. Sessions conducted under these conditions by proficient viewers tend to be highly reliable. The disadvantages are that such sessions do not allow the monitor to sort out the most useful information during the session. To address this limitation, scripts are often given to the monitor in advance of the session. These scripts contain no target-identifying information, but they do give clear instructions as to which procedures and movement exercises need to be executed (and in what order).
   

• Type 6 Data
  These data come from sessions in which both the monitor and the viewer are front loaded with target information. This type of session was occasionally used when there were very few professionally trained viewers and monitors, information needed to be obtained quickly and there was no one else available to task with the session. Type 6 data are rarely if ever collected these days.

Descriptions of remote-viewing sessions in this book use Type 2 and Type 3 data. The sessions using verifiable targets in Part II all employ Type 3 data. When I conducted these sessions, I had absolutely no prior knowledge of the targets in any way. For the substantive sessions presented in Section 2, a mixture of Type 2 and Type 3 data are used.

I was involved in creating a list of approximately 20 highly varied targets for the Type 2 sessions. I gave the list of targets to an intermediary who mixed them up, assigned random coordinate numbers to each one, and then gave me the coordinate numbers. I viewed all Type 2 targets in a batch before being told the cue/coordinate associations.

The Type 3 data used in Section 2 involve targets that were designed by someone other than myself and that were given to me blind.

THE REMOTE-VIEWING EXPERIENCE

When at peace inwardly, and generally stress free, beginners perceive a target with a clarity characteristic of, say, a light on a misty night. While there may be difficulty discerning the precise meaning and distance of a light under such conditions, there is nonetheless no doubt that a light is perceived. With experience and skill, a remote viewer can perceive all sorts of details relating to a target, just as an experienced yachtsman, upon seeing the light, can soon discern the outline of the nearby coast, and the identity of the lighthouse from which the shrouded beacon shines.

Learning how to remote view from a book is not optimal. The primary reason for including these methods is not to teach Scientific Remote Viewing, but to explain it to people who want to understand and interpret remote-viewing data. Students of remote viewing must understand that the effectiveness of any procedures depends not only on the procedures themselves, but also on how well they are executed.

This, in turn, depends on the quality of instruction and feedback. In a classroom, regular instructions are directed at a student's work while the initial learning process is under way (and before counterproductive habits are formed). These instructions help obtain the highest level of performance. Nonetheless, many students can achieve a minimal level of effectiveness by systematically studying the procedures presented here without the assistance of classroom instruction.

The term "remote viewing" is actually not entirely appropriate. The experience is not limited to visual pictures. All of the senses—hearing, touch, sight, taste, and smell—are active during the remote-viewing process. More accurate is the term "remote perception." Nonetheless, since "remote viewing" has been widely adopted in the scientific as well as the popular literature, it makes sense simply to continue using the current term.

When one looks at an object, the light reflected off that object enters the eye, and an electrochemical signal is generated that is transmitted along the optic nerve to the brain. Scientific studies have demonstrated that this signal is "displayed" on a layer of cells in the brain, the way an image is projected from a movie projector onto a movie screen. The brain then interprets this image to determine what is being seen. When someone remembers an object, the remembered image of the object is also projected onto that same layer of cells in the brain.*

* If one remembers an object and visualizes it while the eyes are open and looking at something else, then the same layer of cells in the brain contains two separate projected images. The image originating from the open eyes is the brightest, whereas the remembered image is relatively dim and somewhat translucent, since one can see through the translucent image to perceive the ocular originating image.

When remote viewing, one also perceives an image, but it is different from the remembered image or the ocular image. The remote-viewing image is dimmer, foggier, and fuzzier. In-deed, one tends to "feel" the image as much as one visualizes it. The human subspace mind does not transmit bright, high-resolution images to the brain, and this fact is useful in the training process for SRV. If a student states that he or she perceives a clear image of a target, this image almost certainly originates from the viewer's imagination rather than from subspace.

This does not mean that the relatively low-resolution remote-viewing experience is inferior to a visual experience based on eyesight. Remember that all of the five senses—plus the sense of the subspace realm—operate during the remote-viewing process. Thus, it is actually possible to obtain a much higher-quality collection of diverse and penetrating data. The remote-viewing experience is simply different from, not superior or inferior to, physical experience of observation.

For those readers who would like to read an accessible but more in-depth treatment of the physiology of visual and remembered images, I strongly recommend an article in the New York Times by Sandra Blakeslee titled "Seeing and Imagining: Clues to the Workings of the Mind's Eye," New York Times, 31 August 1993, pp. B5N-B6N.

A remote viewer's contact with a target can be so intimate that a new term, "bilocation," is used to describe the experience. Approximately halfway through a session, the viewer often be-gins to feel he or she is in two places at once. The rate at which data come through at this point is typically very fast, and the viewer has to record as much as possible in a relatively short period of time.

Experience has shown that each viewer is attracted to certain aspects of any particular target, and not all are attracted to the same aspects. One viewer may perceive the psychological condition of people at the target location, whereas another viewer may focus in on their physical health. Yet another viewer may concentrate on the physical attributes of the local environment of the target. For example, I once assigned a target of a bombing to a group of students. One of the students was a doctor and another a photographer.

After the session was completed, I reviewed each student's work. The entire class perceived the bombing incident. But the doctor described the physical characteristics of the bombing victims closely, including all of their medical problems resulting from the bombing. On the other hand, the photographer's session read more like a detailed analysis of the physical characteristics of the event, including an accurate description of the geographical terrain where the bombing took place.

Thus, remote viewers go into a session with what they al-ready have—their own personalities. Advanced remote viewers balance these attractions because their training is designed to ex-tract a comprehensive collection of data. But even under the best of circumstances, some level of individual focusing is inevitable for each viewer. For this reason, we use a number of advanced remote viewers for any given project. Each viewer will contribute something unique to the overall results, and a good analyst can put the pieces of the puzzle together to obtain the fullest analysis of the target.

So, you may ask, who should remote view?

In this field there is a distinction between natural and trained remote viewers. Natural remote viewers are generally referred to as "psychics," or when the context is clear, simply "naturals." Naturals typically use no formal means of data acquisition. They simply "feel" the target, and their accuracy depends on how well they can do this.

Because naturals may not understand the mechanism by which their talents are achieved, their dependency on the "feel" of the data can cause problems of accuracy A person's conscious mind can disguise information to make it feel right, when in fact it is not correct at all. Furthermore, since it is difficult to accurately evaluate the "flavor" of psychic data while it is being collected, most naturals have very uneven success histories.

By the end of 1997, The Farsight Institute had trained a large number of people in the basics of Scientific Remote Viewing. With this teaching experience as background, we have identified a clear pattern. Any person of average or better intelligence apparently can be trained to remote view with considerable accuracy. Certain life experiences and educational backgrounds sometimes assist in the process.

In week-long introductory classes taught at The Farsight Institute, all or nearly all students have successful remote-viewing experiences, and the instructors generally expect that most sessions conducted after the third day contain some obviously target-related material.

Part of the training process is helping participants identify and interpret subspace-accessed data with increasing precision. All aspects of all targets have a particular "feel." The novice viewers are just beginning to learn what these aspects feel like on an intuitive level.

In addition, Farsight Institute trainees who practice meditation already have a good intuitive sense of subspace. Their initial training moves quickly from learning the mechanics of SRV to the advanced discrimination between complex target characteristics. Meditators often discern new things and have more penetrating and profound remote-viewing experiences more quickly than those who do not meditate. Of course, there are exceptions: many remote-viewing trainees are very good from the start even if they have never meditated.

With this general discussion of Scientific Remote Viewing complete, we are now ready to explain the mechanics of the process and how it works. We begin this in the next chapter by explaining how we identify a target using what is called a "target
 

Back to Contents

Chapter 3
TARGET CUES

Writing an effective target cue is one of the most important criteria in remote viewing. The target cue identifies the target. It is the actual event, person, object, or whatever, that is the focus for a remote-viewing session. Normally the remote viewer is not told the target cue until after the session is completed. With Type 5 data (double-blind), the monitor also is not told the target cue until after the session is completed.

The initial target cue is given through the target coordinates. Typically the person who tasks the session has a piece of paper on which the target coordinates and the target cue are both writ-ten. In Type 5 data situations, the tasker gives the monitor the target coordinates (normally over phone or fax), and nothing more. Experience has clearly demonstrated that the viewer 's subspace mind has instantaneous awareness of the meaning of the target coordinates, and a typical session begins immediately by obtaining information directly related to the target cue.

Humans perceive and process remote-viewing data differently For example, if someone was told to go into a room and to see what was there, they would need little additional instruction. The request to go into the room and observe is vague, yet most people would not feel uncomfortable with the request, knowing that they would probably be able to sort things out once they got into the room. When they start looking around, they could make an inventory of the room's contents. Their conscious minds would be fully engaged as they entered the room, and most people would perform satisfactorily in this regard even if they had no prior expectations regarding the contents of the room.

With remote viewing, the viewer has minimal help from the conscious mind. The viewer cannot seen everything, evaluate the importance of all that is perceived, make logical choices as to which are the important things to observe, and rank them in order. The remote-viewing experience is more passive; the viewer perceives what is there, but the viewer has only limited evaluative capabilities. Thus, for remote viewing to be most successful, it is necessary to compensate for the relative lack of input from the conscious mind. To do this, one makes the target cue very specific with regard to what is desired from the subspace mind of the viewer.

At The Farsight Institute, we avoid excessively vague cues. For example, if one tasks a target cue of a person (say just the person's name), then a viewer would be completely accurate if the observed data were anything that related to this person at any time in his or her life. Even a fantasy that the person had during a lunch break would qualify as accurate data. In such a situation, the choice of what to perceive is being determined by the personal preferences of the viewer's subspace mind. To avoid this problem of subjectivity the instructions in the cue have to eliminate as much ambiguity as possible.

In this chapter I will present one of the more modern forms of cuing that is used at The Farsight Institute. Other cuing forms tend to be more basic versions of that presented here, and readers will see some of these other forms used in later chapters. None are better or worse; they just do different things.

To task a target, one needs a "target definition." A complete target definition has a variety of parts, but they are basically bro-ken down into (1) viewing parameters, (2) the essential cue, and (3) a list of qualifiers.


VIEWING PARAMETERS

Viewing parameters may contain a variety of components. They typically begin with a declaration of the target coordinates. Following this is the essential cue, as it is described below. The target coordinates and the essential cue are placed at the top of the cue so that analysts who sort through large stacks of targets can identify a target by glancing at the top of the page.

Following the essential cue are two primary viewing parameters. The first is the target range. This gives general instructions as to the type of information that is permissible in the session. For example, the range typically limits the target data to only tangibles and intangibles that exist in the target. At first this may seem obvious. However, all targets bleed into other areas, and it is easy for the subspace mind to follow these smears in the data boundaries. For example, the target may be a specific person on a beach on the equator at a given point in time.

But that person may be thinking about an Eskimo hunting a polar bear in the Arctic. If a viewer pursues this perception, the viewer may describe polar bears on the beach.

Then comes the second viewing parameter. This specifies the time frame of the target. Many experiments have verified that there is a complete continuum of existence with an infinite number of time lines, both past, present, and future. The subspace mind is equally capable of perceiving all of these. Thus, it is necessary to request the subspace mind to locate targets as they may exist in time frames and realities that are closely connected to our present. Following the second viewing parameter is the target cue, which includes the essential cue and the qualifiers.

THE ESSENTIAL CUE

The essential cue is normally a simple statement or sentence that describes the basic core of the target. The essential cue is both simple and direct. Sometimes a segmented structure is used in writing the essential cue. The cue has multiple parts, with each being separated by a slash (/). The first part of the essential cue is called the "primary cue." The primary cue is the major identifier of the target. Everything that follows is a refinement of this primary identifier. Thus, if the target is a known place or person, the first part must be the name of the place or person.

The primary cue is then followed by a slash and one or more secondary cues (each separated by a slash) if greater refinement of the target is required. The cue "event" is sometimes used as the final secondary cue to focus a remote viewer on activity at the target. Specific temporal identifiers follow the primary and secondary cues and are placed in parentheses. As a general rule, each target must have one primary cue, and nearly all targets have at least one secondary cue (as needed) as well as a temporal identifier.

The format of the essential target cue is as follows:

Primary Cue /First Secondary Cue / Second Secondary Cue (Temporal Identifier)

The following are some examples of essential target cues that follow the segmented format.

Example 1
Napoleon Bonaparte / Battle of Waterloo / event (1815)
Example 2
John F. Kennedy assassination / event (22 November 1963)
Example 3
Nagasaki / nuclear destruction / event (9 August 1945)

Effective essential cues must begin with a known, not a conclusion. Errors in cue construction usually result from placing an analytical conclusion in the cue itself. The purpose of a remote viewing session is to gather data for known events so that conclusions can be made during the subsequent analysis of the data.

For example, a poorly written essential cue that contains a conclusion would be: "John F. Kennedy assassination / conspiracy" In this cue, one is assuming that there is a conspiracy in the assassination. With remote viewing, one must construct a case for a conclusion based on observable data. If there was a conspiracy in the J.F.K. assassination, this must be established from the data of events and people, not by cuing on the idea of conspiracy.

Since remote viewing always obtains descriptive information about people, things, and events, the conscious mind must later make conclusions based on information supplied by remote-viewing data. For example, a remote viewer could be tasked the J.F.K. assassination (that is, the event itself). The viewer could then be given various movement exercises and cues to obtain as complete a collection of data as possible. In the analysis that follows the remote-viewing session, the analyst can then examine the data for any evidence of a conspiracy

For instance, the data may show more than one source of bullets in the event. But one cannot go into a session assuming that there will be more than one source of bullets. That would bias the data-collection process. Restating this important principle, data are collected using neutral target cues, and all analytical conclusions must be made after the data-collection process is completed.

Another example of a poorly written essential cue is: "How to live happily with friendly extraterrestrial neighbors." Many people think that remote viewing can be used to resolve such targets directly Yet it must begin with a known person, place, thing, or event. A cue about extraterrestrial neighbors would assume the existence of extraterrestrials. At best, one would have to begin with a known, such as an actual sighting of an unidentified flying object, perhaps one documented with a photograph.

The remote viewer would then be able to target the object, try to move inside the object, and observe extraterrestrials flying the craft. The viewer would also be able to move into the minds of the extraterrestrials to find out if they are friendly toward humans. With this information, an analyst would have at least something to work with regarding the possibility of friendly coexistence for humans and extraterrestrials.

In general, remote viewing is descriptive. It does not label things, analyze situations, make conclusions, nor does it employ logic or reasoning during the session. For example, if the target is a checkers game, the remote viewer would describe the board, perhaps even drawing the checkerboard pattern in a sketch. The viewer may even correctly place some pieces on the board, and identify the colors of the pieces. But the viewer may not realize during the session that the target is a checkers game. After the session is completed, the analyst can examine the data and conclude that the data seem to correspond with a checkers game.

The target cue has to focus on these descriptive capabilities of remote viewing.

The Qualifiers

Following the essential cue is a list of qualifiers, usually marked with bullets. The qualifiers are written in phrase or sentence for-mat, and they are clear descriptions of specific things that the viewer is supposed to observe and describe. The qualifiers must address the primary goals of the cue, including instructions to observe activity that may be taking place at the target location.

For example, if the cue is a military battle, the qualifiers should explicitly state that the viewer is to observe the battle itself. Other-wise a viewer may perceive what amounts to an inventory list of things and people that are at the scene of the battle, but miss the actual fighting, the sounds of the passing cannonballs, the thunder of the bombs, the shouts of the soldiers, etc.

Readers are encouraged to closely examine the qualifiers for the example target cues listed below to obtain a solid sense of what's required. Versions of some of these targets have been used in the actual training of many advanced viewers at The Farsight Institute.

One Complete Example

TARGET DEFINITION FOR TARGET 3292/9537
ESSENTIAL CUE (AND VIEWING PROTOCOLS): Mike Tyson-Evander Holyfield Championship Boxing Match (28 June 1997). (ESRV)

VIEWING PARAMETER 1: TARGET RANGE
The viewer perceives only the intended target as it is specified by this complete target definition. The viewer describes only tangibles and intangibles that exist in this target.

VIEWING PARAMETER 2: TARGET LINKS
If the target resides outside of a past, present, or future connection to the temporal and/or spatial reality of the current tasking time frame, then the viewer remote views the target as it exists in its own reality.

If the target time is the moment of tasking, then the viewer remote views the target as it exists in the same temporal and spatial reality of the tasker at the moment of tasking.

If the target time is prior to the moment of tasking, then the viewer remote views the target as it exists in the temporal and spatial reality of the time stream that directly evolves into the temporal and spatial reality of the tasker at the moment of tasking.

If the target time is in the future of the moment of tasking, then the viewer remote views the target as it exists in the most highly probable temporal and spatial reality as it may evolve from the temporal and spatial reality of the tasker at the moment of tasking, given both the existing conditions of the tasker's reality at the moment of tasking, as well as directions for extrapolation into the future if such are specified in the target cue.

TARGET 3292/9537
Protocols used for this target: Enhanced SRV
The Mike Tyson-Evander Holyfield Championship Boxing Match (28 June 1997). In addition to the relevant aspects of the general target as defined by the essential cue, the viewer perceives and describes the following target aspects:

• Mike Tyson and Evander Holyfield
• the target activity in the boxing ring
• the activity surrounding the boxing ring
• the building within which the target ¡s located
• the thoughts of the people watching the fight inside the building where the match occurs

Examples of Essential Cues with qualifiers

TARGET 9148/5716
Madeleine Murray O'Hare / current location. In addition to the relevant aspects of the general target as defined by the essential cue, the viewer perceives and describes the following target aspects:

• the current physical characteristics of Madeleine Murray O'Hare
• the current physical condition of Madeleine Murray O'Hare
• the surrounding environment and current location of Madeleine Murray O'Hare's physical body

TARGET 3985/3159
The Apollo 11 landing on the Moon / event (20 July 1969). In addition to the relevant aspects of the general target as defined by the essential cue, the viewer perceives and describes the following target aspects:

• the actual landing event in which the lander contacts the lunar surface
• the activity of Neil Armstrong as he emerges from the lunar lander and walks on the lunar surface for the first time
• Neil Armstrong planting the U.S. flag on the lunar surface

TARGET 6459/3395
Ted Bundy's execution / event. In addition to the relevant aspects of the general target as defined by the essential cue, the viewer perceives and describes the following target aspects;

• Ted Bundy during the execution event
• Ted Bundy's surroundings during the moment of execution
• the people near Ted Bundy during the execution
• the emotions of Ted Bundy as well as the emotions of the people near him who are watching the execution
• the method by which the execution is performed

Here is an esoteric target. Before giving an esoteric target with an extensive list of qualifiers, the tasker must have some in-formation strongly suggesting that such a target in fact exists. Such information can come from more open-ended cues.
 

TARGET 3292/9537
The living physical subjects and their facilities that are currently located on Mars (at the time of tasking). In addition to the relevant aspects of the general target as defined by the essential cue, the viewer perceives and describes the following target aspects:

• the physical environment of the subjects' living conditions
• the age and gender variations among the subjects
• the emotional state of the subjects
• the dominant groups among the subjects, ¡including any governmental organizations
• the primary thoughts of the collective consciousness of the subjects
• the level of technology available to the subjects

Back to Contents

Chapter 4
PHASE I - THE PRELIMINARIES

1. Consciousness-Settling Procedure

The single most important step needed to obtain a profound remote-viewing experience is a deeply settled mind. For this reason I recommend that remote viewers meditate regularly. While I personally practice Transcendental Meditation (TM), other forms of meditation may be useful as well.

 

Additionally, since a settled mind is so essential to deep target penetration, the practice of SRV begins with a procedure that helps to settle the mind in an appropriate fashion. This practice is called the SRV "Consciousness-Settling Procedure" (or CSP), and it is composed of a few simple techniques commonly practiced in a number of meditation traditions.

CSP must be done immediately prior to each SRV session by both the viewer and the monitor. CSP takes approximately 15 minutes total. In Type 4 and Type 5 settings, monitors and viewers need to communicate 15 minutes before each session to coordinate the precise timing of the beginning of the SRV session. Here are the steps for CSP:

1. Sit comfortably in silence with the eyes closed for 30 seconds.

2. Perform a brief body massage. (Some meditation traditions recommend that the massage be executed slightly differently for men and women, and I describe these recommendations here. I am not clear as to why these gender-related differences exist, or if the need for the differences is real.) The massage begins by gently pressing the hands against the face, then upward on the top of the head, back down the neck, and toward the heart. (All massage elements move toward and finish at the heart.)

 

Then men continue by gently using the left hand to press and massage first the right hand, and then up the arm, and back down toward the heart. Again, this is all done with the left hand. Women do the same, but they begin by massaging the left hand and arm (back toward the heart) with the right hand. Then both men and women switch arms and massage the other hand and arm, again, back toward the heart. Then men continue by massaging the right foot and leg, upward toward the heart.

 

This is done with both hands pressing gently. Then massage the left foot and leg, again, upward toward the heart. Women do the same, but they begin with the left foot and leg, upward toward the heart, before repeating the process for the right foot and leg. This is best done with the eyes closed. Total time for the massage is about a minute.

3. While sitting comfortably with the back straight, perform a breathing technique that is called "pranayama." Begin with 10 seconds of fast pranayama. This is done using very short, gentle breaths, closing one nostril at a time after each outward and inward breath. Close the nostrils (one at a time) with the thumb and the middle fingers (alternately) of one hand. Men use their right hand to do this while women use their left.

 

The mechanics of the procedure are similar to slow pranayama (see below), except that the breaths are very short and rapid (although still gentle). This is best done with the eyes closed. The procedure should be effortless and easy, and if someone is experiencing any problems like dizziness or hyperventilation, it is being performed incorrectly and its practice should be discontinued until getting personal instruction in this technique.

4. While sitting comfortably with the back straight, perform 9 to 10 minutes of slow pranayama. This is done similarly as with the fast pranayama, but using normal breaths (not short or long ones), closing one nostril at a time after each outward and inward breath. Be sure to complete both the outward and inward breath before switching nostrils. On the exhaling breath, let the breath flow out naturally not forcing it. The inhaling breath should take about half the time as the exhaling breath.

 

Hold the breath after inhaling for a brief moment (a second or two) while alternately closing the other nostril with the other finger, and prepare to exhale. The entire procedure should be effortless and gentle. If you feel you need more air, simply take deeper breaths, but do not hyperventilate. You should be breathing normally just alternating nostrils after exhaling and inhaling. This is best done with the eyes closed.

5. Sit quietly and comfortably for 5 minutes with the eyes closed.

6. Open your eyes and immediately begin the SRV session.

2. Physical Considerations to Beginning the SRV Session

A remote-viewing session begins with a viewer sitting at a clean desk. Ideally, the only items that should be on the desk are a pen and a thin stack of white paper. We use a ballpoint pen with liquid black ink. A good quality pen that does not produce much friction when writing is best. Traditional ballpoint pens that use gummy ink require too much downward pressure when writing.

The ideal training room is neutral in color. Light gray, powder blue, or light brown are suitable colors. It is probably not a good idea to use, say a child's playroom that has lots of primary colors on the walls. The idea is to minimize the strong stimuli that come in through the senses, such as bright visual colors.

Before remote viewing, a person should be well rested. This cannot be emphasized enough. Tiredness dulls the conscious mind, and a tired conscious mind has difficulty perceiving information originating from the subspace mind. A good night's sleep is ideal for a morning remote-viewing session, and a midday 15-30-minute rest often refreshes one sufficiently for an after-noon session.

One should be comfortably fed before remote viewing. This means that one should not be hungry and one should also not be overfed. Hunger and feeling stuffed produce physical stimuli that are difficult for the conscious mind to ignore. Remember that the subspace mind yields a relatively weak informational signal to the conscious mind. Try to minimize any physiological stimuli that could swamp the subspace signal.

Remote view in a quiet environment. If possible, close the windows and doors of the remote-viewing room. Also turn off the ringer of the phone for the time that it takes to complete the session. Turn off any radios or televisions that may be audible nearby

Avoid wearing any perfume, cologne, aftershave, or other strong scents. This is particularly important when training in a group environment. If a viewer is a smoker, it would be best if this viewer wore freshly washed clothes during the session that do not smell of smoke.

People who use recreational drugs, or any other drugs with psychoactive qualities, should not remote view at all. These drugs tend to release any controls that the conscious mind has over the imagination, which is exactly opposite that which is required for successful remote viewing. With respect to drugs of any type, one should try to be as drug free as possible. Individuals who use doctor-prescribed antidepressants should probably not spend much effort trying to remote view.

 

Such antidepressants suppress the nervous system to such a degree that accuracy in remote viewing is highly compromised. Yet individuals using any drugs prescribed by their doctors should not discontinue their use unless directed to do so by their doctor. Learning how to remote view is not as important as maintaining one's health and mental balance.

Before beginning the session, you should sit comfortably on a chair at your desk with both feet on the floor. The legs should not be crossed. You should sit up straight, not off to one side, or sit-ting on one foot in a lotus position. The hands should be relaxed, with the pen held over a single clean sheet of paper. The paper is positioned in portrait mode (vertically). The stack of paper should be on the viewer's right side of the desk.

THE SRV AFFIRMATION

The SRV Affirmation is normally read aloud with a soft voice, even in solo sessions. The affirmation produces a subtle shift in the sensitivities of the mind that helps to connect the aware-ness of the conscious mind to the perceptive capabilities of the subspace mind.

The SRV Affirmation is designed to closely approximate the way sequential, connected thoughts are felt telepathically piece by piece, one "thought-ball" at a time. Viewers should read the affirmation slowly pausing briefly after each comma or period.

Here is the SRV affirmation:

SRV Affirmation
l am a spiritual being. Because l am a spiritual being, I am able to perceive beyond all boundaries of time and space. My consciousness is ever present with all that is, with all that ever was, and with all that ever will be. It is in my nature, as a human, to be able to perceive, and thus to know, all that there is to know. Everywhere, at all times, I seek to learn, and thus to evolve. To further my own personal growth, and to assist others in their growth, I direct my attention to a chosen point of existence. I observe what is there. I study it carefully. I record what I find.

THE HEADER

Next, write the SRV identifying header on the top of the first piece of paper. The viewers declare the condition of their physical state (PS), their emotional state (ES), or any advanced perceptual (AP) centered at the top of the first page. Declaring PS and ES let the conscious mind account for your physical and emotional states, thereby releasing any psychological pressure that could be present.

These declarations can be positive, neutral, or negative. Positive declarations include, "I really have a happy glow this morning," or anything else that is upbeat. Negative declarations include having a sore foot, or being upset with the quality of lunch. Unusually strong PS or ES declarations, such as just having had a fight with a spouse, may suggest that the session might be postponed until later. Similarly if one is in significant pain due to, say severe arthritis, it might be better to delay the session until the pain abates.

In some ways it is useful to compare the conscious mind to the mentality of a small child. When the conscious mind is experiencing something, it likes to be heard. Declaring the PS and the ES satisfies this need. This helps the conscious mind relax, circumventing its natural desire to force the issue of having its needs recognized later in the session, potentially corrupting the integrity of the data.

Often a viewer begins a session thinking that he or she has an idea as to what the target is. Such ideas are advanced perceptual, and any thoughts along these lines need to be declared at the outset, or they will build in pressure in the conscious mind during the session, and are likely to emerge in some form during the actual data flow. Declaring these APs in advance again relaxes the conscious mind by satisfying its desire to be heard, thereby minimizing the risk of contaminating the data.

To the right of the PS, ES, and AP is the identifier of the remote viewer. At The Farsight Institute we use a code called a viewer identification number (VIN), but a name would do just as well. Below the name or viewer identifier is the date written in the U.S. military or European format (day/month/year). Below this is the beginning time of the remote-viewing session.
 

To the left of the page is the data type, and below that is written the monitor's name or identification number (MIN—if the session has a monitor).

To summarize, the format of the initial header is as follows:

Readers are encouraged not to perceive this initial header as a frivolous formality Everything is carefully structured in SRV. Following these details from the outset of the session focuses the attention of the conscious mind on the structure of the page. Further, trainee viewers should follow all of the seemingly petty structural details of these protocols, including for-matting issues involving indentations, dashes, and colons.

Once a remote-viewing session is proceeding at a fast speed, the conscious mind can do little else but keep track of these structural details. This frees the informational conduit of the subspace mind from the controlling influence of the conscious mind. Figuratively, this ties the hands of the conscious mind with activity, allowing the subspace mind to slip the data past the conscious mind with minimal interference.

THE IDEOGRAM

After saying the SRV affirmation, the viewer receives the tar-get coordinates from the monitor. The monitor makes sure to speak deliberately and clearly so that all the numbers can be heard. The target coordinates are two four-digit random numbers, and the monitor places a slight pause between the two groups of numbers. On the left side of the page, the viewer writes the first four-digit number, then the second four-digit number directly under the first.

After writing the target coordinates, the viewer immediately places the point of the pen on the paper to the right of the coordinates. At this point an ideogram is drawn. An ideogram is a spontaneous drawing that takes only a moment to complete. The pen does not leave the surface of the paper until the ideogram is completed. Ideograms normally are simple, but complex ideograms can occur. In general, each ideogram should represent one (and only one) aspect or "gestalt" related to the target. For example, if the target is near a body of water, an ideogram could represent water. If there is an artificial structure at the target site, another ideogram could represent this structure, and so on.

Only one ideogram is written for each recitation of the target coordinates. In Phase 1, the monitor usually recites the target coordinate numbers three to five times, enabling the viewer to draw and decode a few ideograms, thereby obtaining information relating to different target gestalts. Each time the viewer writes down the target coordinates, it is said that he or she is "taking" or "receiving" these coordinates.

After drawing the first ideogram, the viewer then writes the capital letter "A" followed by a colon to the right of the ideogram. The viewer then describes the movement of the pen while writing the ideogram, writing this all down after the "A:". The description must describe the process of the pen's movement without the use of labels. The following words are generally acceptable in this regard: vertical upward, vertical downward, diagonal upward, diagonal downward, sloping (upward or downward), curving (upward or downward), moving (upward, downward, or across), slanting (upward or downward), curving over, curving under, horizontal flat across, horizontal flat along, angle.

Words ending in "ing" or "ward" are generally preferred. Labels such as "a circle/' "a loop/' or "a square" are to be avoided. Labeling adds conceptual meaning to data in remote viewing, and that is conscious-mind analysis. All of remote viewing is built upon perceptions that begin at the lowest level of conceptual abstraction and gradually move to higher levels of abstraction. In the beginning of Phase 1, the lowest level of conceptual analysis is required.

PROBING THE IDEOGRAM

This is a delicate matter. The viewer places the point of the pen on the ideogram itself and gently (but firmly) pushes the pen down ward (into the table). The novice viewer can probe one or more times but should avoid more than four attempts. Each probe lasts between one and two seconds (no longer than three seconds). While the pen is in contact with the line, the viewer normally perceives some feeling about the target.

Too brief a contact does not allow the nervous system to register the impression sufficiently to allow for accurate decoding. Too long a contact al-lows the conscious mind to intervene in the process and distort or fabricate the data. After the probe, the pen is removed from the ideogram, and the viewer searches for a word to describe the sensation that was perceived during the probe.

The first time that the viewer probes the ideogram, the at-tempt is made to discern what is called a "primitive descriptor," of which there are six possible choices, with one exception. These are; hard, soft, semi-hard, semi-soft, wet, or mushy. While probing the ideogram, the viewer will actually sense the pen moving into the paper and table if the target is soft, wet, or mushy

Although this seems logically impossible due to the firmness of the writing surface, it nonetheless is consistently perceived by viewers. When gently pushing the pen into the paper, it will also feel wet if the target has water. The viewer must choose only one of the six possible descriptive options given above. No substitutions should be made, since this would invite the conscious mind to enter the process more fully The choice of primitive descriptors is then written under the written description of the movement of the pen.

The one exception to picking one of the six primitive descriptors is if the viewer perceives movement or energetics in the ideogram. If this occurs, the viewer may or may not also perceive one of the six primitive descriptors. If the viewer does, then the chosen descriptor is declared and the viewer proceeds with the next step.

However, if you perceive only movement or energetics, abandon the attempt to perceive a primitive descriptor and move directly to declaring an advanced descriptor.

After obtaining a primitive descriptor, the viewer probes the ideogram again to obtain what is called an "advanced descriptor." There are five choices, and the viewer must use only one of these choices. These are: natural, man-made, artificial, movement, energetics. After probing the ideogram, the viewer writes the advanced descriptor under the primitive descriptor.

Readers should note that there is a difference between "man-made" and "artificial." While everything that is man-made is artificial, not everything artificial is man-made. For example, a beaver dam is artificial, but it is not man-made. Note also that energetics refers to a feeling that the target is associated with some significant quantity of energy. This energy can be in any form: kinetic, radiant, explosive, etc. While movement can also indicate an expenditure of energy, the movement of a snail or a slowly driven car might not be perceived as energetics.

Underneath part A, the viewer writes "B" followed by a colon. The viewer then declares what he or she perceives the ideogram to represent. The most common declaration is "No-B." While you must have one primitive descriptor and one advanced descriptor per ideogram, you do not have to declare a substantive B. However, the viewer must at least write "No-B."

For B, there is no fixed list of possible declarations. To assist students, however, we offer a list during the first few days. The list is: No-B, structure, water, dry land, wet land, motion, subject, mountain, city, sand, ice, swamp.

Note that these declarations are at a higher level of abstraction than when describing the movement of the pen while drawing the ideogram. The entire process in Phase 1 moves from lower to higher levels of abstraction as follows: describing the movement of the pen, primitive descriptors, advanced descriptors, and an interpretive declaration of the meaning of the gestalt. Yet the viewer must remember that the declaration that is made in part B is still very low-level.

For example, a viewer could not declare that the gestalt represents an automobile, a computer, a skyscraper, or a spaceship, since these declarations would be far too high-level, involving conscious-mind interpretations that greatly exceed the quality and quantity of data that are available at this point in the session. For example, if the target really is a skyscraper, then the best that could be determined at this point is that the target is associated with a structure.

Following the declaration of B, the viewer writes "O" followed by the viewer's intuitive perceptions about what the ideogram feels like. This is usually just a word or two that describes very low-level perceptions relating to the ideogram. Examples of such perceptions are colors or textures (such as rough, smooth, polished, etc.). The viewer may also feel the perception of size, such as big or small, short or tall, wide or narrow. A viewer may also write "No-C" if the previously declared data capture all of the ideogram's nuances.

To summarize, the Phase 1 procedures are:

(1) take or receive the target coordinates,

(2) draw an ideogram,

(3) describe the movement of the pen during the drawing of the ideogram using process terms rather than labels,

(4) probe the ideogram for primitive descriptors,

(5) probe the ideogram for advanced descriptors,

(6) make an initial declaration of a low-level description of the target aspect that is captured by the ideogram, or simply state that there is no declaration (Le., No-B), and

(7) list other intuitive feelings regarding the ideogram, if there are any.

This entire sequence is typically done three to five times in Phase 1 (going through all seven steps each time). The idea is not to use Phase 1 to identify all of the aspects of the target, but rather to establish initial contact by describing a few of the primary target aspects only. The viewer then proceeds immediately to Phase 2.

One final note about the ideograms: if an ideogram is not de-coded correctly it is nearly always immediately repeated with the next taking of the coordinates. Thus, a self-correction factor is built into the Phase 1 procedures. If an ideogram returns subsequent to a different ideogram emerging from a different taking of the coordinates, this indicates that the initial ideogram was de-coded correctly previously, and that most or all of the primary gestalts have been properly expressed. After decoding a repeating ideogram, the viewer moves on to Phase 2.

For example, let us say that the first ideogram is decoded as a structure. The second ideogram looks different, and from this we assume that the first ideogram was decoded correctly. We decode the second ideogram saying that it is hard and natural, with a B: of "land." On the third taking of the target coordinates, the second ideogram returns. This tells us that we most likely made a mistake in decoding something in the previous (second) ideogram.

We probe again, this time finding that the ideogram really feels more like it is hard and man-made. We declare "No-B." We take the coordinates again and the structure ideogram returns. Now we know that we have exhausted all of the major gestalts. We then decode the final ideogram and move on to Phase 2. After the end of the session, we find out that the target was a shopping mall containing a structure and a large parking lot (that is, man-made land).

IDEOGRAM DRILLS

Students need to develop skill in drawing ideograms. Practice and some drills are required. Our students typically drill with a few standard ideograms that have established meanings. They are "established" because many viewers use these same ideograms to represent the same things. Usually seven or eight pages of drills are all that is required to set in place the initial ideogram vocabulary In the drill, an instructor repeats words like "structure," and the student quickly draws a structure ideogram.

Common ideograms that are useful for drill purposes are presented in Figure 4.1 below.

Other ideograms are developed individually for each student. Such ideograms do not have a set pattern, and may vary widely from person to person. Ideograms for such things are drilled not by telling the student what the ideogram looks like, but by just repeating the gestalt (such as the word "movement"), allowing the student to draw whatever comes naturally. The ideograms typically settle down into a set pattern for each gestalt after only a few repetitions.

"Person" or "subject" ideograms are often very individualistic in this regard. As a result of these drills, most students develop a minimum of five or six distinct patterns in their ideogram vocabulary Should a student ever develop an "ideogram rut," in which all ideograms always look alike, then 10 minutes of drill using a variety of ideograms usually fixes this problem.


DEDUCTIONS

What do you do if the conscious mind makes a high-level guess as to the identity of the target or target fragment? This is called a "deduction." A deduction has two components. First, it is a conclusion (as in "to deduce") that the conscious mind makes regarding the target. The conscious mind is basically watching the data flow between the subspace mind and the physical body (the hand holding the pen).

The conscious mind needs very little information before it leaps into the process with a guess as to the meaning of the data. This conclusion may indeed be correct, but the viewer cannot know until the target identity is revealed at the end of the session. Thus it is important to remove the conclusion from the data recording process, which leads to the other half of the meaning for "deduction." A deduction is also a subtraction from the data flow. If this high-level conclusion is removed from the data collection, it will not contaminate the remainder of the data flow.

Nearly all deductions describe some true aspect of the target, but a remote viewer doesn't know during a session what that aspect is. For example, if a target is the destruction of the Hindenberg blimp, it follows that kite, balloon, fireworks, and TWA Flight 800 could all be deductions. The idea of a kite captures the notion that the Hindenberg flew, the balloon reflects the structure of the blimp, fireworks reflect the explosion that resulted in the destruction of the Hindenberg, and TWA Flight 800 identifies the idea that an airborne vehicle carrying passengers exploded causing loss of life.

Do not worry about the inaccuracies inherent in deductions. Remember, deductions are not remote-viewing data. They are guesses made by the conscious mind, nothing more. However, deductions can be very useful when analyzing the data after-ward. Deductions can convey meaning about a target that is difficult to express. For example, someone could be remote viewing a slave labor camp during the time of the Pharaohs, and give Auschwitz as a deduction.

Such a deduction has many parallels with the actual target. Jews were the subjects of slavery, repression, misery, and death in both settings. But more important, the analyst may be alerted to the magnitude of the misery that was experienced in Egyptian slave labor camps through the deduction of Auschwitz. This could be useful in interpreting the remainder of the session should the viewer describe extreme levels of suffering among the actual target subjects.

Regardless of the potential accuracy of deductions, they must be eliminated from the flow of the data. To accomplish this, the viewer writes a capital letter "D" followed by a dash and the description of the deduction on the right-hand side of the paper. Thus, the deduction mentioned above would be written as "D-Auschwitz."

Following this, the viewer must put the pen down on the table for one or more seconds. This action of putting the pen down breaks the flow of the data from the subspace mind, thereby allowing the impression that was made on the conscious mind to dissipate. After a few moments the viewer picks up the pen and continues with the session.
 

Back to Contents

Chapter 5
PHASE 2

Phase 1 initiates contact with the target. Phase 2 deepens that contact by systematically activating all of the five senses: hearing, touch, sight, taste, and smell. In Phase 2, viewers write down various cues as well as their initial impressions of these cues. In early training (the first three days), these steps are per-formed slowly so that students can commit the mechanics of the process to memory. Once this is done, the speed of these steps dramatically increases.

Phase 2 begins by writing "P2" centered at the top of a new sheet of paper. In general, all phases must begin with a new sheet of paper regardless of how much space is left on the previous piece of paper. The page number is entered on the upper right corner of the new page.

The viewer begins by writing the word "sounds" followed by a colon on the left side of the page. Immediately after writing this, the viewer normally perceives some sense of sound, although this is obviously not a physical perception. To assist the new viewer in building a vocabulary for this phase, the instructor often recites a list of sounds from which the viewer can choose one or more.

This list includes the following: tapping, musical instruments, laughing, hitting, flute, whispering, rustling, whistling, horn, clanging, voices, drums, barking, humming, beating, trumpets, vibrating, crying, whooshing, rushing, whirring. The viewer will often perceive a variety of sounds, and should record all of these perceptions as rapidly as possible.

The viewer then cues on textures that are associated with the target. This is done by writing the word "textures" on the left side of the page, followed by a colon. While writing the cue or immediately afterward, the viewer will sense certain textures and write them down after the colon. To help students during the first few days of training, the following list of textures is read: rough, smooth, shiny polished, matted, prickly sharp, foamy grainy slippery wet.

The next sensation is temperature. The viewer writes the abbreviation "temps" on the left side of the page, followed by a colon. As before, one or more temperatures will be perceived immediately, and the viewer must write these down following the colon. The list of possible temperatures that is read to the beginning student is: hot, cold, warm, cool, frigid, sizzling.
 

The viewer then cues on visuals. These have three components. To begin, the viewer writes "visuals" on the left side of the page followed by a colon. Dropping down and indenting, the viewer writes "colors" followed by a dash (not a colon). The list of colors that is read to the viewer is: blue, yellow, red, white, orange, green, purple, pink, black, turquoise (and others). The viewer may write down colors from this list, or may perceive other colors. In any case, the list is no longer read after the first few days.

On the next line, also indenting as with colors, the viewer writes "lum" for luminescence. As with colors, the cue is followed by a dash, not a colon. The list of possibilities is: bright, dull, dark, glowing.

The final visual is contrasts. This cue is written under "lum," and is followed by a dash. The list of possible contrasts is: high, medium, low.

Dropping down again, but now returning to the left side of the page (that is, no longer indented), the viewer cues on tastes. This is done by writing the word "tastes" followed by a colon. The list of possible tastes is: sour, sweet, bitter, pungent, salty.

The final cue for the five senses is smell. The viewer writes the cue "smells" on the left side of the page followed by a colon. As with all other cues, the viewer will immediately perceive some smells, and these must be recorded without delay The list of possible smells is: sweet, nectar, perfume, flowers, aromatic, shit, burning, dust, soot, fishy, smoke (also cold and hot).
 

After recording the data from the five senses, the viewer is normally drawn much closer to the target. Evidence of this is that the viewer almost always perceives many magnitudes of the target. Most magnitudes are essentially quantities. They tend to answer the question of "How much?"

To probe for these target aspects in Phase 2, the viewer first indents on the page and writes "Mags" followed by a colon. Dropping down and indenting further, the viewer cues on the various types of magnitudes shown in the following list. The viewer should not write down the cues for the magnitudes, since these cues are long and this could dangerously slow down the recording of the data.

Here is the list of cues and a collection of possible choices. Advanced viewers typically develop a larger vocabulary of descriptive magnitudes.

• [VERTICALS] high, tall, towering, deep, short, squat

• [HORIZONTALS] flat, wide, long, open, thin

• [DIAGONALS] oblique, diagonal, slanting, sloping

• [TOPOLOGY] curved, rounded, squarish, angular, flat, pointed

• [MASS, DENSITY, SPACE, VOLUME] heavy, light, hollow, solid, large, small, void, airy huge, bulky

• [ENERGETICS] humming, vibrating, pulsing, magnetic, electric, energy penetrating, vortex, spinning, churning, fast, explosive, slow, zippy, pounding, quick, rotating

The viewer must perceive magnitude data for at least three of the six dimensions before proceeding further. If the viewer fails to perceive data for at least three, the viewer is undoubtedly editing out data.

In the beginning of training, a viewer sometimes claims not to perceive anything. This is almost always a matter of editing out data, which occurs when the conscious mind enters the remote-viewing process and makes a decision that a piece of data cannot be correct. This is usually perceived as doubt in the mind of the remote viewer.

To remedy this, an instructor encourages the student not to edit out anything, and to write down the data immediately. This raises an important point. It does not matter how the conscious mind is occupied as long as the viewer stays within the structure of the remote-viewing protocols. This means that the viewer need only keep track of what is to be done next, and to mechanically perform that duty correctly.

DECLARING THE VIEWER FEELING

At the end of recording dimensional magnitudes, the viewer begins to perceive aspects of the target very strongly These aspects could be anything: emotional, physical, or whatever. When this happens, the viewer's conscious mind responds to the data, and this response must be declared in order to limit its ability to contaminate the data not yet collected. This response is called a "viewer feeling," and it is declared by writing the letters "VF" followed by a dash, and then the declaration of the feelings of the viewer. The viewer's feeling is not the viewer's perception of the target. Rather, it is the viewer 's gut response to the target.

The viewer must have a viewer feeling at the completion of the initial pass through Phase 2, but it is not required or even de-sired that the viewer feeling be dramatic. The viewer's gut response can be simply, "OK," if that is how the viewer feels at that point. A list of common examples of viewer feelings is: I feel good, disgusting, I feel happy, interesting, awful, this place stinks, this is gross, I feel light and lifting, I feel spiritual, enlightening, wow!

The most important thing to remember about the viewer feeling is that it is not data. It does not describe the target. It describes the viewer's emotional response to the target. By declaring the viewer feeling, we acknowledge it and remove it from the data flow.

After declaring any viewer feeling, the viewer must put the pen down momentarily, letting the feeling dissipate before picking up the pen again and continuing with the session. In this regard, a viewer feeling is treated similarly to a deduction.

Back to Contents