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THE CONTROLLED REMOTE VIEWING MANUAL 



ORIGINAL DATED MAY 1, 1986 

POSTED PUBLICLY JULY 5, 1998 

USED AS A MANUAL FOR TRV TRAINING 
USED AS A REFERENCE MANUAL FOR CRV TRAINING 
AN HISTORICAL DOCUMENT 



CONTENTS OF THIS SECTION OF THE FIREDOCS WEB SITE: 

Notes from PJ Gaenir on the posting of the CRV manual . 
The copyright /credit page which is part of the original manual . 
Notes from Ingo Swann regarding the copyright et al . 
An introduction to the CRV Manual by Paul H. Smith [Major, ret.]. 

(START HERE TO READ IT ALL) 

THE CRV MANUAL 

Title Page 
Table of Contents 
In t rodu ction 
Theory 
Structure 
Stage I 
Stage II 
Stage III 
Stage IV 
Stage V 
Stage VI 
Glossary 

Ending Notes from PJ 



NEXT PAGE 



ABOUT THE CRV MANUAL 



Notes from PJ about the CRV Manual posted at the Firedocs web site. 

Where I got this manual 

The legitimacy of this manual 

The accuracy of this version of the manual 

The current state of or use of this manual 

Changes in or notes about the online version of this manual 

The six good reasons why I decided to post this manual 

My own view on the manual 

Copyright issues 

The Coordinate Remote Viewing Manual 

Before anything else, I want to say: This manual does not, and cannot, replace 
personal instruction in the psychic methodology of Controlled Remote Viewing. 
There is context and unique-to-you situations that could never be addressed in 

any mass- marketed form. 

Those interested in obtaining CRV training from a legitimate instructor (former members 
of the US Gov't RV project who were Viewers and instructors in that project) may contact 
Paul H. Smith at RVIS (Texas USA), or Lyn Buchanan at P>S>I (New Mexico USA) for 

more information. 

Where I got this manual: 

I have six copies of this document on my desk. One has a simple typed cover and a 
copyright page. One has a "Psi-Tech" cover and a copyright page. Another two have 
Psi-Tech covers and no copyright page. And the other three have a large "CRV" cover with 
no copyright page. [Later note: OK, that's seven. Whoops!] These were sent me by an 
assortment of people; another dozen people offered me copies, which I didn't need. I 
have refused to name my sources of the manual, mostly because I feel it is irrelevent, and 
also because it would only be used as leverage for those who don't believe it should be 
public to hassle those who provided it. The original version from the military unit is the 
simple typed cover with the copyright page included. Whether there were previous or 
alternate versions within that unit, I don't know. 

The legitimacy of this manual: 

I am certain this is the manual written in and used in the former Army intelligence 
unit which utilized remote viewing. Individuals from the unit familiar with it have 
confirmed this either by comparing contents (page numbers/topics) with their own 
versions, or by glancing at it and telling me it was indeed the same document. Its 
accuracy concerning CRV, concerning Swann's own interpretation of CRV, its usefulness as 
a training document, and other issues are beyond my knowledge or comment. 

The accuracy of this version of the manual: 

I typed this manual in from scratch, despite that a few people had scanned copies. I 
wanted to be sure I learned everything in it that I might not already be aware of, and I 
better remember what I type. It is possible there may be typos in here somewhere. 
Spelling, word and hyphenation choices, were not of my doing; I copied this as faithfully 
as I could, and went to great effort even to format it as exactly matching the original as 



possible. If you find errors, please send me email and tell me so I can fix them. See also 
'Changes in or notes about the online version of this manual/ below. 

The current state of or use of this manual: 

Paul Smith (Remote Viewing Instructional Services, Inc. [RVIS]) uses this document 
as a reference manual; his training manual is a gradually built notebook made up of the 
student's notes, essays and sessions (which is to say, RVIS doesn't really have its own 
training manual). 

Ed Dames (Psi-Tech Corp.) has been using this document as a training manual for 
CRV since 1989 and for his "TRV" since the term first appeared in mid-1996. 

Caveat: I am aware that Mr. Dames now teaches "TRV," not CRV. TRV being, in his 
own words, "Not CRV" and "unlike anything else," is said to have "existed for 13 years" 
and "begins where CRV left off" and many other comments to that effect. TRV is Mr. 
Dames's much-publicized "invention." It has been very publicly claimed to be unique and 
superior to CRV, and even a great deal of insult has been heaped on instructors and 
students of CRV as having "inferior" methods. So, I realize that inferring Mr. Dames is 
really teaching CRV might cause some offense. I cannot explain the circumstance, nor can 
I explain why TRV as publicly released via videotape is very close to exactly like CRV, 
excepting some simplifications apparently added to facilitate teaching via video. This is 
really not my affair. I can only tell you that this CRV manual has been used as a basis of 
"TRV" instruction until the present time. 

Lyn Buchanan (Problems>Solutions>l nnovations [P>S>I]) has developed his own 
CRV manual based on these methods and doesn't use this particular manual in his 
training, though he may use it for reference on occasion. 

I don't know of any other instructors who use this. However, since all Psi-Tech 
students for some time have gotten a copy of it, as well as various members of the public 
some years ago, it is entirely possible that many "new schools of RV" are using it to one 
degree or another. 

Changes in or notes about the online version of this manual: 

(1) I included the page numbers in the table of contents, but they do not apply in this 
HTML version. 

(2) There is a glossary at the end of this document. The glossary contains a summary of 
the word definitions provided in each of the sections of the manual. For some reason not 
every word definition in the manual was included in the glossary. For ease of reference, I 
included EVERY word definition, as provided in the manual, as part of the glossary. So, 
that section is a bit more extensive than the original. 

The six good reasons why I decided to post this manual: 

1. The claims by others to have invented something which, in fact, Ingo Swann invented. 
Not only did he not get credit for what is rightfully his, but his own methods were taken 
and renamed, with some loss of quality, and then sold to an unsuspecting public. Even 
history was revised to make this possible. This struck me as quite unfair, both to Mr. 
Swann and to those interested in Remote Viewing. I thought if the original manual were 
available, it would be immediately obvious that certain people claiming to have invented 
these methods are, in fact, not telling the truth. 

2. The claims by others to be using and/or teaching the CRV methods -- or a newly named 
derivation of them -- when in fact the later methods presented range from "not doing 
justice to the original" to "deeply offensive to the original form." Most seriously 
overcharged the general public, who really had no way of knowing the quality (or lack 
thereof) of what they were learning. I thought if the original manual were available, it 
would be immediately obvious just what has been changed, and how, and then students 
working on any method of RV can decide if those changes helped, harmed, or didn't 



matter. 



3. The strongest of all of my reasons is the continuing and truly frightening cultism 
associated with the remote viewing field. The nature of the methods being a secret has 
been the primary sponsor and excuse for this to continue. The "doctrinization" of the 
methods has created a belief system about them being a rigid end-to-themselves. Groups 
and schools have, for an inordinate amount of money usually, recruited members of the 
public impressed by the military history of CRV, and put them in an environment which 
amounts to little more than cult indoctrination and has nothing whatsoever to do with any 
aspect of CRV which inspired the public's potential respect. I have spent quite a bit of 
personal time via email, telephone and in person, counseling individuals who had personal 
problems as a result of these various cults or simply bad training -- some from the 
paranoid nature of the groups, some from psyche problems caused during a creative form 
of 'training' better seen as hypnotic induction to bizarre belief systems, and some simply 
dealing with issues that badly affected their RV abilities by putting their psychology in 
various cognitive dissonance situations. It is more than unfair, and more than just 
unethical; it ought to be illegal. The only way I have to combat this dangerous seduction 
of the public in the name of RV is to make the supposed secrets available to the public, 
who should no longer have to risk their money or their sanity simply to find out what RV 
methods really are. 

4. To allow certain facets of remote viewing history, development and methodology 
understanding to become more clear, not only to RV students but to the general public. 
Persons familiar with the developments in scientific parapsychology, for instance, will 
recognize that a good deal of the CRV methodology is based on the work of French 
researcher Rene Warcollier from the mid-1900's; it was certainly not "invented" in the 
1980's. (The CRV methods are better referred to as "compiled.") Some may also 
recognize that many of CRV's most valuable components, such as the communication 
issues, are also fairly well known to parapsychologists and well educated psychics 
worldwide; again, most of these things were not invented in the 1980's. Ingo Swann, 
being insightful and accomplished in this field, recognized the value of many different 
sources and combined them in his methods; this combination of sources is one of the 
strengths of his methods. Not everybody is aware of this though, and others who deserve 
credit are often overlooked in the assumption that Swann invented it all. 

There are two main results of this understanding: the first being to un-guru-ize Mr. 
Swann, who is a brilliant and dedicated psychic, author and researcher who never asked 
to be made into a stone icon by the world at large for this; there are a long list of reasons 
to respect him without projecting things he is not responsible for upon him. Also, 
hopefully, to un-guru-ize other persons who may be teaching these methods, which 
should help with reason #3 above. The second result is the realization that, since many of 
the most useful aspects of CRV are known to others and have in fact been known for 
longer periods than CRV itself has existed, then these methods, albeit very useful, cannot 
claim sole expertise or sole competence when it comes to successful psi work. The 
supposed superiority of anybody trained in RV methods, vs. "natural psychics," is a 
marketing and ego myth and nothing more. 

5. I feel that remote viewing—particularly what it can be used for, with what success, and 
the value of methods training—has been grossly misrepresented in the media. Remote 
Viewing itself has very pronounced limitations. To the public who knows nothing of the 
"technology," it sounds cosmic, and one is forced to pay large sums of money to learn the 
secret methods just to figure out what is actually involved -- almost invariably with no 
evidence whatsoever of the value of the methods prior to paying for them. (In fact, the 
main advertisements for RV are the notable accomplishment of a current remote viewer 
[Joseph W. McMoneagle] who does not even USE these methods.) I think after reading 
this manual people will realize that CRV / TRV / all the other RVs are, first and foremost, 
just somebody's way of going about being psychic. No method has even half the inferred 



accuracy, sureness, or cosmic clarity that various RV methods have been advertised as 
having. I happen to have respect for CRV, but I realize it is just one path of many. 

As a side note, this manual will also make clear the humorous ostentatiousness of the 
presentation of these methods: "facilitate a movement exercise" means, in effect, 
someone told you to look some distance to the left. "Iterate the coordinates and acquire 
the signal line while remaining in structure" translates to something like, 'monitor says the 
target #, viewer tunes in and writes down his impressions on the right side of the paper.' 
It really is comical once you understand CRV, to hear certain individuals in the media 
talking about RV methodologies, making them sound so incredibly complicated and 
high-tech; it is a sales pitch, used to obscure, not clarify. Personally I think remote 
viewing can only benefit from taking this sort of mystery out of the methods. 

6. The last—but a very small—reason I'm putting this manual online has to do with my 
own personal involvement with CRV methodologies and remote viewing. I have invested a 
good 60+ hours per week into RV-related work for nearly three years, mostly email 
communication with the public, most to support CRV and support its instructors. I have 
maintained the privacy of the methods, giving only "tips and tidbits." I have avoided 
training others because I made the commitment not to. Over the course of these years I 
have directed well over $100,000 in training monies to CRV instructors, directly or 
indirectly via my online enterprises of various kinds, as well as providing them support in 
other ways. In return for this, I have been offered and paid the commission of zero. At 
this point, I feel I have more than "paid my dues." So, guilt at taking potential students 
away from qualified CRV instructors isn't bothering me. I believe serious students will 
recognize the need for personal training. Everybody else, or those without the funds, 
probably wouldn't have bought it anyway. As a second part to the personal section, I feel 
I have spent nearly three years "defending" remote viewing from charlatans, cynics, and 
dis/mis-information both organized and chaotic. As I am 'retiring' I am not going to be 
around to defend RV anymore; to provide an alternative to some of the bizarre media 
hype, to provide references to real viewers and scientists, etc.; so in a small way, this 
manual is my effort to help stop the BS that is choking the remote viewing field once and 
for all. Hopefully it can accomplish what I could not: getting down to earth facts to the 
public, without money, without cults, without nonsense. 

Considering the first five reasons above, I no longer feel a sense of moral reluctance to 
publish the CRV manual. For the good of the world, the public, and remote viewing itself, 
these methods need to be put into the public domain. (I will not, however, publish the 
other manuals or items used by CRV instructors without their express permission.) Since I 
am retiring from "online RV" at this time (4 July 1998) to free up time to pursue my own 
RV work, I felt posting this manual would be the one last gift I could provide to the public. 
It may not help in the sense of methods training, but it ought to help in the sense of 
dealing with the five reasons listed above, and they are very good reasons for making it 
available. 

It's long overdue. 

My own view on the manual: 

Though I support CRV, I do not necessarily agree with all aspects of CRV, particularly the 
manner some are presented in this manual (this most clear in the issues related to 
monitoring). In my view, there is a certain lack of context, and a perspective that 
demonstrates its writing by a student rather than an experienced instructor. The manual 
may accurately represent what the authors were taught, but I am not sure it is the same 
thing that the instructor would have written, and over time my own perspective on "the 
approach" within the methods has shifted. I have learned various degrees of various 
people's versions of various RV methodologies, and like everybody who has given psi any 
real thought, have come to my own conclusions. What works for me is what I use, and 



CRV is a part of that, but certainly not the sole or final answer. 

I initially had put footnotes in this manual, to help clarify things. But eventually I realized 
that in some cases I simply had to disagree with some statement, or something else that 
in some way seemed to detract from it. Then I decided, if I have something to say, I have 
my own forums for doing so; there is no reason to invade the sanctity of a historical 
document with my opinions. And if the manual, sans the footnotes, is totally opaque to 
most non-methods people and leaves them more confused than when they began -- well, 
that's just the way it goes. Take it up with the guy who wrote it! 

Copyright issues: 

The copyright of this document is attributed to Ingo Swann. Ingo however denies any 
credit for, participation in, or responsibility toward the document or its copyright. I called 
him and asked if I could post it. He said it wasn't his and he didn't care. It was written by 
Paul H. Smith. Paul however wrote it as a work for hire while employed by the DOD/DIA. 
The Dl A did not classify the document, which in legal terms puts it in the public domain 
(the gov't cannot copyright, they can only classify; unclassified materials are public 
record; nobody else can then claim ownership of what began a gov't document). SRI-I 
might lay claim to it, as they funded Swann to develop the proprietary methods in it. But 
at this point, copies of the document have been disseminated publicly since 1989, which 
not only would invalidate any SRI/DIA copyright claim (since they have never prosecuted 
for copyright thus far), but in that case, they'd have to start with the main distributor, 
which would be Psi-Tech Corp. According to Smith, since the document was a DIA 
document but not classified, it has been public record (despite that the public hasn't 
before had open access to it) since it was written. It was written and dated 1986. 

So, as far as I'm concerned, it is mine to publish if I please. 

I realize that this copy will immediately be stolen off the WWW by others, stripped of all 
relevent notes, and published elsewhere. That is unfortunate, but there is nothing I can do 
about that. I considered putting it in a locked .pdf file, but felt that might limit public 
access to it. I have always made a point to make my projects available to the public 
without charge and as accessible as possible... I didn't want this to be an exception. For 
those of you making links to the document, please be kind enough to your visitors to link 
to the version on my Firedocs site, which is the most 'official' copy possible at this point. 
Or, at least have the courtesy to include Mr. Swann's own notes with your copy. Thanks. 

Palyne "PJ " Gaenir 
fire@zmatrix.com 

Firedocs Remote Viewing Collection 
http://www.firedocs.com/remoteviewinq/ 



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COORDINATE REMOTE VIEWING 



PROPRIETARY INFORMATION 



COORDINATE REMOTE VIEWING 



The following document has been prepared to serve 
as a comprehensive explanation of the theory and 
mechanics of coordinate remote viewing (CRV) as developed 
by SRI-Internatinoal, Menlo Park, California . It is 
intended for individuals who have no in-depth 
understanding of psychoenergetic 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. It is suggested that the 
document be read several times to enhance understanding. 

NOTE: INFORMATION CONTAINED IN THIS DOCUMENT IS 

GOVERNED BY CORPORATE LAWS OF PROPRIETY. 
INGO SWANN, AN SRI-INTERNATIONAL 
SUBCONTRACTOR, RETAINS EXCLUSIVE OWNERSHIP 
OF THIS INFORMATION. BEING PROPRIETARY, 
INFORMATION CONTAINED HEREIN MAY NOT BE 
REPRODUCED OR DISSEMINATED WITHOUT THE 
EXPRESS WRITTEN PERMISSION OF INGO SWANN. 



PROPRIETARY INFORMATION 



NEXT PAGE 



ABOUT THE CRV MANUAL 



I asked I ngo Swann for copyright permission to post this document. -- PJ 

The Coordinate Remote Viewing Manual 

To which I ngo replied: 

I did not write it. 
PJ : But the copyright is credited to you. 

I can't help that. 

PJ : Paul Smith says he's the main author, but the methods are yours. 

I have seen it, I don't remember exactly what's in it. It's been re-edited a few 
times by various people to suit their needs. I believe it was a group-written 
document... [it wasn't written by just one person]. 

PJ : I don't have any way to know if the info in the manual is accurate....? 

{pause...} I wasn't asked to participate in [the writing of] it. 

I found out it existed sometime after. 

PJ : Your methods have become a very big deal, high priced, even cults have grown up 
around them or versions of them. 

Just because I once played a role in the research, does not mean this role can 
be extended to cover everything that has happened in the field since then. 

PJ : I could take the copyright cover off if you think it's misleading. 

If you do that people will say you're editing it. 

PJ : You don't mind if I put it on the web? 

I don't care. You can say -- please say this first, then I don't care what is said 
after that -- I did not write it. 

I have never, ever written a document like that. 

PJ: OK. 

That's what I ngo said about it, in a phone call Sunday, 24 May 1998, 4:15pm 
Eastern Time. 

I sent this to him and told him if I 'd misheard or misunderstood anything to let me know and I 'd change it. 
That was over a week ago and I haven't heard from him, so I 'm assuming it's fine. PJ 04 J uly 98 



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ABOUT THE CRV MANUAL 



I asked Paul H. Smith, the main author, to write an introduction for this 
document. -- PJ 

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-I nternational. 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 J im 
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 1 1 1 training with I ngo. 
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 

Austin, TX 

3 July 1998 



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C 0 


0 R D 


I N A T E 


R E M 0 


T E 


VIEWING 






1 MAY 1986 



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COORDINATE REMOTE VIEWING 
1 MAY 1986 



TABLE OF CONTENTS 



INTRODUCTION 



THEORY 



STRUCTURE 



STAGE I 



A . General 

B . Background 

A. Concept 

B. Definitions 

C. Discussion 

D. Levels of Consciousness 

E. Learning Theory 

F. Reference Material 

A. Concept 

B. Definitions and Discussion 

C. Summary 

A. Concept 

B. Definitions 

C. Site Requirements 

D. Types of Ideograms 

E. Vertical/Horizontal Ideogram Orientation 

F. I/A/B Formation 

G. Phases I and II 

H. Drills 



2 
4 



5 
6 
8 

11 



16 
18 



19 



20 
21 



I. 



Format 



STAGE II 



A. 


Concept 


B. 


Definitions 


C. 


Site Requirements 


D. 


Clusters 


E. 


"Basic" Words 


F. 


Aperture 


G. 


Dimensionals 


H. 


AOL 


I. 


Aesthetic Impact (AI) 


J. 


Dri 1 1 s/Exercises 


K. 


Format 



A. Concept 

B. Definitions 

C. Site Requirements 

D. The Six Primary Dimensionals 

E. Aesthetic Impact 

F. Mot Ion /Mobility 

G. Dimensional Expression on Paper 

H. Movement /Movement Exercises 

I. Analytic Overlay (AOL) In Stage III 
J. Format 



STAGE III 



STAGE IV 



A. 



Concept 



B. 



Definitions 



STAGE V 



STAGE VI 



C. Stage IV Matrix 

D. Session Format and Mechanics 

E. Format 

A. Concept 

B. Definitions 

C. Format and Structure 

D. Implications 

E. Considerations 

F. Switches 

G. AOL and Stage V 

H. Format 

A. Concept 

B. Functions of Modeling 

C. RV Modality 

D. Discussion 

E. Session Mechanics 

F. Format 



40 

41 
44 



45 
47 

48 
49 
50 
54 



GLOSSARY 



55 

56 
62 



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COORDINATE REMOTE VIEWING 



INTRODUCTION 
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 f 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 Viewincr 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, acoustlc-tlled, 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 repllcablllty) 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, 
acoustlc-tlled, 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 descrlbable 
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. 



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COORDINATE REMOTE VIEWING 



THEORY 

A. Concept: 

As will be explained In greater detail below, 
remote viewing theory postulates a non-material "Matrix" 
In which any and all Information about any person, place 
or thing may be obtained through the agency of a 
hypothesized "signal line. " The viewer psychically 
perceives and decodes this signal line and objectifies the 
Information so obtained. 

A remote viewing session consists of both the 
Interaction of a remote viewer with the signal line, and 
the Interaction between the viewer and the monitor. The 
monitor and viewer are generally seated at opposite ends 
of a table. The viewer has a pen and plenty of paper In 
front of him. The monitor observes the viewer, and 
determines when the viewer Is ready to begin when the 
viewer places his pen on the left side of the paper In 
preparation to record the coordinates. The monitor then 
reads the coordinate, the viewer writes It, and the 
session proceeds from that point according to theory and 
methodology as discussed at length below. 

B. Definitions: 

1. Matrix : Something within which something else 
originates or takes form or develops. A place or point of 
origin or growth. 

2. 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 . 

3. 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 . 

4. 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. 

5. 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. 

6. Gestalt : A unified whole; a configuration, 
pattern, or organized field having specific properties 
that cannot be derived from the summation of its component 
parts . 

7. 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) . 

8. Codi n q/En codin cr/De coding : 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. 

C. Discussion: 

The Matrix has been described as a huge, 
non-material, highly structured, mentally accessible 
"framework" of information containing all data pertaining 
to everything in both the physical and non-physical 
universe. In the same vein as Jung's Cosmic 
Unconsciousness , the Matrix is open to and comprises all 
conscious entities as well as information relating to 
everything else living or nonliving by accepted human 
definition . It is this informational framework from which 
the data encoded on the signal line originates. This 
Matrix can be envisioned as a vast, three dimensional 
geometric arrangement of dots, each dot representing a 
discrete information bit. Each geographic location on the 
earth has a corresponding segment of the Matrix 



corresponding exactly to the nature of the physical 
location. When the viewer is prompted by the coordinate or 
other targeting methodology, he accesses the signal line 
for data derived from the Matrix. By successfully 
acquiring (detecting) this information from the signal 
line, then coherently decoding it through his conscious 
awareness and faculties, he makes it available for 
analysis and further exploitation by himself or others. 

Remote viewing is made possible through the 
agency of a hypothetical "signal line. " In a manner 
roughly analogous to standard radio propagation theory, 
this signal line is a carrier wave which is inductively 
modulated by its intercourse with information and may be 
detected and decoded by a remote viewer. This signal line 
radiates in many different frequencies, and its impact on 
the viewer's perceptive faculties is controlled through a 
phenomenon known as "aperture . " Essentially, when the 
remote viewer first detects the signal line in Stage I (*) 
it manifests itself as a sharp, rapid influx of signal 
energy — representing large gestalts of information . In 
this situation, we therefore speak of a "narrow" aperture, 
since only a very narrow portion of the signal line is 
allowed to access the consciousness . In later stages 
involving longer, slower, more enduring waves, the 
aperture is spoken of as being "wider. " 



* NOTE: for the sake of clarity, ease of instruction, and facility 
of control, RV methodology is divided into discreet, progressive 
"stages, 11 each dealing with different or more detailed aspects of 
the site. Stage I is the first and most general of the six stages 
thus far identified. Each stage is a natural progression, building 
on the information obtained during the previous stage. Each session 
must start with Stage I, progress on through Stage II, Stage III, 
and so forth, through the highest stage to be complete in that 
particular session. 



D. Levels of Consciousness: 



1 . Definitions : 

a. Subconscious : Existing in the mind but not 
immediately available to consciousness; affecting thought, 
feeling, and behavior without entering awareness . The 
mental activities just below the threshold of 
consciousness . 

b. Subliminal : Existing or functioning 
outside the area of conscious awareness; influencing 
thought, feeling, or behavior in a manner unperceived by 
personal or subjective consciousness ; designed to 
influence the mind on levels other than that of conscious 
awareness and especially by presentation too brief to be 
consciously perceived. 

c. Limen : The threshold of consciousness; the 
interface between the subconscious and conscious. 

d. Liminal : At the limen; verging on 
consciousness . 

e. Supraliminal : Above the limen; in the 
realm of conscious awareness. 

f. Conscious : Perceiving, apprehending, or 
noticing with a degree of controlled thought or 
observation; recognizing as something external . Present 
especially to the senses. Involving rational power, 
perception, and awareness . By definition, the "conscious" 
part of the human being is that portion of the human 
consciousness which is linked most closely to and limited 
by the material world. 

g. Autonomic Nervous System (ANS) : A part of 
the vertebrate nervous system that innervates smooth and 
cardiac muscle and glandular tissues, governs actions that 
are more or less automatic, and consists of the 
sympathetic nervous system and the parasympathetic nervous 
system (Webster's 3rd Int. Unabr.). 

h. Ideogram (I) : The reflexive mark made on 
the paper as a result of the impingement of the signal on 
the autonomic nervous system and its subsequent 
transmittal through this system to the arm and hand 
muscles, which transfers it through the pen onto the 
paper. 



i . Analytic Overlay (AOL) : Conscious 
subjective Interpretation of signal line data, which may 
or may not be relevant to the site. (Discussed at length 
In STRUCTURE.) 

j. Automatic vs. Autonomic : Reception and 
movement of the signal line Information through the 
viewer's system ** and Into objectlflcatlon Is an 
autonomic process as opposed to an automatic one, which 
Itself Implies an action arising and subsiding entirely 
within the system rather than from without. 



(Note: in the original document, "j. " was a typo, listed as a second 
11 i . ") 

** NOTE: When the word "system" is used without qualifiers such as 
"autonomic," etc., it refers in a general sense to all the 
integrated and integrative biological (and perhaps metaphysical as 
well) elements and components of the viewer himself which enable him 
to function in this mode known as "remote viewing. " 



2. Discussion : 

RV theory relies on a rather Freudian model of 
human consciousness levels. The lowest level of 
consciousness is paradoxically named the "unconscious . " 
All this label really means is that that part of our 
mental processes we know as physical "awareness" or 
"consciousness" does not have access to what goes on 
there. It is apparently this part of the individual's 
psyche that first detects and receives the signal line. 
From here it is passed to the autonomic nervous system. 
When the signal line impinges on the ANS, the information 
is converted into a reflexive nervous response conducted 
through muscular channels controlled by the ANS. If so 
allowed, this response will manifest itself as an 
ideogram. At the same time, the signal is passed up 
through the subconscious , across the limen, and into the 
lower fringes of the consciousness. This is the highest 
state of consciousness from the standpoint of human 
material awareness. However, the normal waking 
consciousness poses certain problems for remote viewing, 
occasioned largely because of the linear, analytic thought 
processes which are societally enhanced and ingrained from 
our earliest stages of cognitive development. While 
extremely useful in a society relying heavily on 



quantitative data and technological development, such 
analytic thinking hampers remote viewing by the 
manufacture of what is known as "analytic overlay, " or 
AOL. As the signal line surges up across the limen and 
into the threshold areas of consciousness, the mind's 
conscious analytic process feels duty-bound to assign 
coherence to what at first blush seems virtually 
incomprehensible data coming from an unaccustomed source. 
It must in other words make a "logical" assessment based 
on the impressions being received. Essentially, the mind 
jumps to one or a number of instantaneous conclusions 
about the incoming information without waiting for 
sufficient information to make an accurate judgement. This 
process is completely reflexive, and happens even when not 
desired by the individual involved. Instead of allowing 
wholistic "right-brain" processes (through which the 
signal line apparently manifests itself) to assemble a 
complete and accurate concept, untrained "left 
brain" -based analytic processes seize upon whatever bit of 
information seems most familiar and forms an AOL construct 
based on it. 

For example, a viewer has been given the coordinates to a 
large, steel girder bridge. A flash of a complex, metal, 
manmade structure may impinge on the limenary regions of 
the viewer's mind, but so briefly that no coherent 
response can be made to it. The conscious mind, working at 
a much greater speed than the viewer expects, perceives 
bits and pieces such as angles, riveted girders, and a 
sense of being "roofed over" and paved, whereupon it 
suggests to the physical awareness of the viewer that the 
site is the outside of a large sports stadium. The "image" 
is of course wrong, but is at least composed of factual 
elements, though these have been combined by the viewer's 
over-eager analytical processes to form an erroneous 
conclusion . 



E. Learning Theory 



1 . Definitions : 

a. Overtraining : The state reached when the 
individual ' s learning system is over-saturated and is 
"burned out y " analogous to a muscle that has been 
overworked and can no longer extend or contract until it 
is allowed to rest and rebuild fibers that have been 
broken down by the stress, or reinforce those that have 
been newly acquired by new demands placed upon the muscle. 

b. Absorption : Assimilation, as by 
incorporation or by the digestive process. 

c. Cognitron : A cognitron is an assemblage of 
neurons, linked together by interconnecting synapses , and 
which when stimulated by the mind 1 s recall system produce 
a composite concept of their various subparts . Each neuron 
is charged with an element of the overall concept, which 
when combined with the elements of its fellow neurons 
produces the final concept which the cognitron represents. 
As a human learns new facts, skills or behaviors, neurons 
are connecting into new cognitrons, the connecting 
synapses of which are more and more reinforced with use. 

d. Neuron : "A nerve cell with all its 
processes . " The apparent fundamental physical building 
block of mental and nervous processes . Neurons are the 
basic element in the formation of cognitrons, and may be 
linked into varying configurations by the formation or 
rearrangement of synapse chains. 

e. Synapse : The interstices between neurons 
over which nerve impulses must travel to carry information 
from the senses, organs, and muscles to the brain and 
back, and to conduct mental processes. 

f. Learning Curve : The graphic representation 
of the standard success-to-session ratio of a remote 
viewer trainee. The typical curve demonstrates high 
success for the first one to a few attempts, a sudden and 
drastic drop in success, then a gradual improvement curve 
until a relatively high plateau is reached. 

g. First-Time Effect : In any human activity 
or skill a phenomenon exists known as "beginner's luck." 
In remote viewing, this phenomenon is manifest as 



especially successful performance at the first attempt at 
psychic functioning, after which the success rate drops 
sharply, to be built up again gradually through further 
training. This effect Is hypothesized to result from the 
Initial excitation of hereditary but dormant 
psl-conductlng neuronal channels which, when first 
stimulated by attempted psychoenergetlc functioning "catch 
the analytic system off guard, " as It were, allowing 
high-grade functioning with little other system 
Interference. Once the Initial novelty wears off, the 
analytic systems which have been trained for years to 
screen all mental functions attempt to account for and 
control the newly awakened neural pathways, thereby 
generating Increasing amounts of masking "mental noise, " 
or AOL. 

h. Noise : The effect of the various types of 
overlay, Inclemencies, etc. that serve to obscure or 
confuse the viewer r s reception and accurate decoding of 
the signal line. Noise must be dealt with properly and In 
structure to allow the viewer to accurately recognize the 
difference between valid signal and his own Incorrect 
Internal processes . 

2. Discussion: 

Learning theory for RV methodology Is governed 
by the Idea that the student should "quit on a high 
point." Traditionally, the learning of a skill 
concentrates on rote repetition, reiterating the skill a 
large number of times until It Is consistently performed 
correctly. Recent developments In learning theory which 
have been applied with particular success In sports 
training methodology Indicate that the rote repetition 
concept tends more to reinforce Incorrect performance as 
opposed to developing the proper behavior or skill . Much 
success has been realized by Implementing the concept of 
"quitting on a high point." That Is, when a skill or 
behavior has been executed correctly, taking an extended 
break from the training at that point allows the learning 
processes to "remember" the correct behavior by 
strengthening the neurological relays that have been 
established In the brain by the correct procedure. 

The phenomenon of overtraining Is a very real 
danger In the training cycle, generally brought about by 
pushing ahead with training until the learning system of 



the viewer is totally saturated and cannot absorb any 
more. This results in system collapse, which in effect is 
a total failure to function psychically at all. To avoid 
this, the normal practice has been to work an appropriate 
number of sessions a day (anywhere from one to several, 
depending on each individual trainee's capacity and level 
of training and experience) for a set number of days or 
weeks (also individually dependent) , with a lay off period 
between training periods to allow time for assimilation or 
"absorption . " Even with this precaution, overtraining can 
sometimes strike, and the only remedy becomes a total 
training layoff, then a gradual re introduction . It is 
extremely important that the viewer inform the monitor 
when he is feeling especially good about his performance 
in remote viewing training, so that a training break may 
be initiated on this high point. To continue to push 
beyond this threatens a slide into overtraining . 

It is very important that should the viewer in 
the course of the training session become aware that he 
has experienced some important "cognition" or 
understanding , or if the monitor perceives that this is 
the case, the session must here also be halted. This 
allows time both for the cognition to be fully 
matriculated into the viewer's system and for the 
accompanying elation of discovery to dissipate . 

The fact that CRV methodology is arranged into 
six distinct stages implies that there is a learning 
progression from one stage to the next . To determine when 
a student viewer is ready to advance to the next stage, 
certain milestones are looked for. Though the 
peculiarities of each stage make certain of these criteria 
relevant only to that specific stage, general rules may 
still be outlined. When a viewer has consistently 
demonstrated control and replication of all pertinent 
stage elements and has operated "noise free" (i.e., 
properly handling AOL and other system distractions in 
structure ) for five or six sessions, he is ready to write 
a stage summation essay and move on to the introductory 
lectures for the next stage. 

Essay writing is an important part of the CRV 
training, and serves as a sort of intellectual 
" object! fication" of the material learned. Through student 
essays the instructor is able to determine how thoroughly 
and accurately the student has internalized the concepts 



taught . 

F. Reference Material: 

1. Theory: Dixon, Norman, Preconscious 
Processlncj , New York: Wiley, 1981. 

2. Learning Theory: 

a. Fukushima, K. and Miyake, S., "A 
Self-organizing Neural Network with a Function of 
Associative Memory: Feed-back Type Cognition, " Biological 
Cybernetics , 28 (1978), pp. 201-208. 

b. Fukushima, K. "Neocognltron : A 

Self -organizing Neural Network Model for a Mechanism of 
Pattern Recognition Unaffected by Shift In Position, " 
Blolocrlcal Cybernetics , 36 (1980), pp. 191-202. 

c. Linn, Louis, "The Discriminating 
Function of the Ego," Psychoanalytic Quarterly , 23 (1954), 
pp. 38-47. 

d. Shevrln, H. , and Dlckman, Scott, "The 
Psychological Unconscious : A Necessary Assumption for All 
Psychological Theory?" American Psychologist F vol. 35, no. 
5 (May 1980), pp. 421-434. 

e. West lake, P.R., "The Possibilities of 
Neural Holographic Processes within the Brain, " 
Kybernetlc , vol. 7, no. 4, pp. 129-153. 



NEXT PAGE 



COORDINATE REMOTE VIEWING 



STRUCTURE 

A. Concept: 

"Structure" is a singularly Important element in 
remote viewing theory. The word "structure" signifies the 
orderly process of proceeding from general to specific in 
accessing the signal line, of objectifying in proper 
sequence all data bits and RV-related subjective phenomena 
(i.e.g, see aesthetic impact as discussed in STAGE III) , 
and rigorous extraction of AOL from the viewer's system by 
conscientious object! fication . Structure is executed in a 
formal ordered format sequence using pen and paper. A 
sample format will be provided as each stage is discussed 
in turn f since different elements are used in each. 

B. Definitions and Discussion: 

1. 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 r s functioning if not 
eliminated from the system through object! fication (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. 

There is evidence that an additional category of 
inclemencies exist, which we might refer to as 
environmental inclemencies. Extremely low frequency (ELF) 
electromagnetic radiation may have a major role in this. 
Experience and certain research suggests that changes in 
the Earth 1 s geomagnetic field — normally brought about by 
solar storms, or "sunspots, " may degrade the remote 
viewer T s system, or actually cause it to cease functioning 



effectively altogether. On-going research projects are 
attempting to discover the true relationship f If any, 
between solar storms, ELF, and human psychic functioning. 

2. Object Iflcat Ion : The act of physically saying 
out loud and writing down Information. In this 
methodology, objectlflcatlon 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, 
objectlflcatlon "gives reality" to the signal line and the 
Information It conveys. Finally, objectlflcatlon allows 
non-signal line derived material (Inclemencies, AOLs, 
etc.) that might otherwise clutter the system and mask 
valid signal line data to be expelled. 

3. 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 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 slte r s major gestalt; the "A" 
component or "feeling/mot Ion" 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. ) 

4. 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" as It were, 
providing the viewer with closure as to the site accessed 
and allowing him to assess the quality of his performance 
more accurately. 

In-sesslon feedback, with which we will be here 
most concerned, Is usually only used extensively In 
earlier stages of the training process, and has several 
Interconnected functions . The very nature of the RV 
phenomena makes It often only rather tenuously accessible 



to one's physically-based perceptions, and therefore 
difficult to recognize . Feedback Is provided after correct 
responses to enable the viewer to Immediately Identify 
those perceptions which produced the correct response and 
associate them with proper psychic behavior. Secondly, It 
serves to develop much-needed viewer confidence by 
Immediately rewarding the viewer and letting him know that 
he Is being successful . Finally, It helps keep the viewer 
on the proper course and connected with the signal line, 
preventing him from falling Into AOL drive and wandering 
off on a tangent . 

a. Correct (abbreviated "C") : The data bit 
presented by the trainee viewer Is assessed by the monitor 
to be a true component of the site. 

b. 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. 

c. Near Site ("N") : Data objectified by the 
viewer are elements of objects or locations near the site. 

d. Can't Feed Back ("CFB") : Monitor has 
Insufficient feedback Information to evaluate data 
produced by the viewer. 

e. 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. 

f. 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-sesslon 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. 

5. 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 . 

6. 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 sltei 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 r 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. Hesitation 
In production of the "B" component In Stage I coordinate 
remote viewing, or a response that Is out of structure 
anywhere In the systemi 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 . t 8 i 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. 

7. 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. There are seven types of breaks: 



*** NOTE: When the word "system" is used without qualifiers such as 
"autonomic," etc., it refers in a general sense to all the 
integrated and integrative biological (and perhaps metaphysical as 
well) elements and components of the viewer himself which enable him 
to function in this mode known as "remote viewing. " 



a. AOL Break : As mentioned above, allows the 
signal line to be put on hold while AOL is expelled from 
the system, 

b . 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. 

c. 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. 

d. Aesthetic Impact Break ("AI Break") : Will 
be discussed In conjunction with Stage III. 

e. 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. 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. 

f. 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. 

g. 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. 

C. Summary: 

Structure is the key to usable RV technology. It 
is through proper structure-discipline that mental noise 
is suppressed and signal line information allowed to 
emerge cleanly. As expressed by one early student, 
"Structure! Content be damned!" is the universal motto of 
the remote viewer. As long as proper structure is 
maintained, information obtained may be relied on.1 14 ] If 
the viewer starts speculating about content — wondering 
"what it is" — he will begin to depart from proper 
structure and AOL will inevitably result. One of the 
primary duties of both monitor and viewer is to insure the 
viewer maintains proper structure, taking information in 



the correct sequence, at the correct stage, and in the 
proper manner. i 15 i 



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COORDINATE REMOTE VIEWING 



STAGE I 

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; rr 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/mot Ion" component 
of the Ideogram. The "feeling/mot Ion" 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/mot Ion, " 
It will normally be the case In actual session work that 
the motion aspect Is decoded first with the feeling 
portion coming second. 

4. "B" Component : The first (spontaneous) 
analytic response to the Ideogram and "A" component. 

C. Site Requirements : 

For training In Stage I, a stage-specific site Is 
selected. Basic Stage I coordinate remote viewing sites 
generally comprise an area Isolated by some five miles on 
a side and possess easily Identifiable major gestalts that 
may be easily decoded In simple Stage I sessions . All 
sites have Stage I gestalts, but for training Stage I 
perceptions these "simple" sites are selected. 

D. Types of Ideograms: 

There are four types of Ideograms: 

1. Single: One unbroken mark or line, containing 
only one "A" component (feeling/mot Ion) and one "B" 
component . 

2. Double : Two basically parallel marks or lines. 
Produces usually at least three sets of "A" and "B" 
components : one for the area between the marks, and one 
each for the areas on either side of the marks. Two other 
"A" and "B" components may be present as well, one for 
each of the marks. Railroad tracks, roads, canals, etc. 
may produce this type of Ideogram. 

3. Multiple : Two or more different marks, each 
producing Its own set or sets of "A" and "B" components . 
Such an Ideogram may be obtained when there Is more than 
one major gestalt present at a given site — such as a lake, 



city and mountain — all within the area designated by the 
coordinate. This type of Ideogram may occasion the 
necessity of taking a "Too Much Break" because of the 
volume of Information contained In more than one major 
gestalt. Caution must be exercised here, since a single 
mark may actually represent either a double or multiple 
Ideogram, but may be mistaken for a single Ideogram. To 
ascertain this, the signal line must be prompted by 
placing the pen on the mark and also to either side to 
determine If more than one "A" and "B" component Is also 
present . 

4. Composite : "Pen leaves paper more than twice, 
makes Identical marks, " and produces one set of "A" and 
"B" components. Things such as orchards, antenna fields, 
etc., with numbers of Identical components produce this 
type of Ideogram. 

E. Vertical/Horizontal Ideogram Orientation: 

Ideograms may be encountered (objectified) either 
parallel with the plane of the horizon (horizontal) or 
perpendicular to It (vertical) . For example, the Gobi 
desert being predominantly flat, wave sand, would produce 
a motion portion of the Stage I "A" Indicating a 
horizontal Ideogram. The Empire State Building, however, 
would produce some sort of vertical response such as "up, 
angle, " In the motion portion of the "A, " Indicating a 
vertical Ideogram. However, a crucial point to remember Is 
the objectlflcatlon of the Ideogram Is completely 
Independent either of what It looks like or Its 
orientation on paper . It Is Imperative to realize that 
what determines the vertical/horizontal Ideogram 
orientation Is not the site's Inherent manifestation of 
the physical world, and not how or what direction It Is 
executed on the paper, or even the RVer's "point of view, " 
since In Stage I there Is no viewer site orientation In 
the dimensional plane . Simply observing how the Ideogram 
looks on paper will not give reliable clues as to what the 
orientation of the Ideogram might be. The Ideogram 
objectified as "across, flat, wavy" for the Gobi Desert 
might on the paper be an up and down mark. The Ideogram 
for the Empire State Building could possibly be 
represented as oriented across the paper. 

It Is obvious then that Ideograms can not be 
Interpreted by what they "look like, " but by the 



feeling/motion component produced immediately following 
the ideogram. The viewer must learn to sense the 
orientation of an ideogram as he executes it . If 
unsuccessful on the first attempt, the ideogram may be 
"re-prompted" by moving the pen along it at the same tempo 
as it was produced, with the viewer being alert to 
accurately obtain the missing information. 

F. I/A/B/ Formation: 

As the monitor gives the prompting information 
(coordinate, etc.) the viewer writes it down on the left 
side of the paper, then immediately afterwards places his 
pen on the paper again to execute the ideogram ("I") . This 
presents itself as a spontaneous mark produced on the 
paper by the motion of hand and pen. Immediately upon 
execution of the ideogram, the viewer then moves his pen 
to the right third of the paper where he writes "A" and 
describes briefly the feeling/motion characteristics of 
the site as it is manifest in the ideogram, for example, 
"A Across angle up angle across angle down, solid. " 

Upon correctly decoding the feeling/motion 
component, the viewer then moves his pen to a position 
below the recorded feeling/motion responses and directly 
under the "A, " then writes "B. " He then records the 
appropriate "B" component response, which will be the 
first instantaneous analytic response following the 
ideogram and feeling/motion components to the signal 
line's impingement on his system. Sample responses may be 
"mountain, " "water, " "structure, " "land, " "ice, " "city, " 
"sand, " "swamp, " etc. 

G. Phases I and II: 

Stage I training is divided into two phases, 
determined by the number and types of major gestalts 
produced by the site used. For example, mountain, city, or 
water. Phase II includes sites with more than one major 
gestalt, and therefore some sort of identifiable 
interface: a beach on an ocean, an island, a city by a 
river, or a mountain with a lake. 

H. Drills: 

Most viewers tend to establish well-worn patterns 
in executing ideograms on paper. If such habits become 
established enough, they can actually inhibit proper 



handling of the signal line by restricting ease and 
flexibility In proper Ideogram production. In order to 
counter this tendency, training drills may occasionally be 
conducted. These drills use paper with a larger number of 
rectangles, outlined In black, of different sizes, 
proportions, and orientations (I.e., with the long sides 
paralleling In some cases the top of the paper and other 
cases paralleling the sides of the paper) . As he comes to 
each of these rectangles on the paper In turn, the viewer 
Is directed to execute an Ideogram for a given site (I.e., 
"mountain, " "lake, " "city, " "canyon, " "orchard, " "Island, " 
"mountain by a lake with a city, " "waterfall, " "volcano, " 
etc.) with his pen Inside the rectangle, extending the 
Ideogram as appropriate from one side of the rectangle to 
another without passing outside the rectangle. Each time 
the directions may vary — the Ideogram will have to be 
executed from top to bottom, right to left, left to right, 
bottom to top, diagonally, etc. In the case of Ideograms 
that do not have a directional emphasis, such as one 
formed by a circle, a grouping of dots, etc., the Ideogram 
must fill the area of the rectangle without going outside 
It. The Ideogram must be executed as rapidly as possible, 
without any hesitation or time taken to think. The purpose 
of this exercise Is obviously to encourage spontaneity and 
Increase facility with pen on paper; though It Is unlikely 
that real signal line connection occurs, the Ideograms 
created by the near-totally reflexive actions Involved In 
the drill approach actual archetypal Ideogrammatlc styles. 

I. Format: 

All sessions are begun by writing the viewer's 
name and the date/time group of the session In the upper 
right hand corner of the paper, together with any other 
session-relevant Information deemed necessary by the 
monitor. As stated above, the coordinate or other 
prompting Information Is written In the left third of the 
paper, the Ideogram approximately In the middle third 
(though because of the spontaneous nature of the Ideogram, 
It may sometimes be executed much closer to the prompting 
data, sometimes even being connected to It), and the "A" 
and "B" components In the right third. AOL and other 
breaks are declared near the right edge of the paper. This 
format constitutes the structure of Stage I and when 
properly executed, objectifies ("gives reality" to) the 
signal line. Following Is a sample Stage I format: 



(FORMAT FOR STAGE I) 



Name 
Date 
Time 



(Personal Inclemencies /Advance Visuals Declared) 



(Coordinate) 



(Ideogram) 



Across angle up angle 
angle across angle down 
Solid 



Structure 



AOL Break 
Sports Stadium 



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COORDINATE REMOTE VIEWING 



STAGE II 

A. Concept: 

Stage II presents to the viewer's cognition 
signal line data relevant to physical sensory input. The 
classic explanation of this is that such data are exactly 
equivalent to "sensations the viewer would experience were 
he physically present at the site. " In effect, this allows 
the viewer to come into closer contact with the signal 
line through recognition and objectification of sensory 
facts relevant to the site. This information centers 
around the five physical senses: touch, smell, sight, 
sound, and taste, and can include both temperature (both 
as a tactile "hot/cold to the touch" sensation, and/or a 
general environmental ambience) and "energetics " (i .e.g, 
magnetism, strong radio broadcasts, nuclear radiation, 
etc. ) . 

B. Definitions: 

1. Sense : Any of the faculties, as sight, 
hearing, smell, taste, or touch, by which man perceives 
stimuli originating from outside or inside the body. 

2. Sensory : Of or pertaining to the senses or 
sensations . 

3. Tactile : Of, pertaining to, endowed with, or 
affecting the sense of touch. Perceptible to the touch; 
capable of being touched; tangible. 

4. 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 . 

5. 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 . 

C. Site Requirements : 

Sites for Stage II training are selected for 
their pronounced manifestation of sensory information. 



Examples : sewage treatment plant, airport, pulp mill, 
botanical garden, chocolate factory, steel mill, amusement 
park, etc. 

D. Clusters: 

Stage II responses tend to come in groups or 
"clusters" of words — usually 3-4 words, though sometimes 
more — pertaining to different aspects or gestalts of the 
site. If for example a body of water and an area of land 
are present at the site, a group of sensory Stage II words 
might be produced by the viewer relating to the land, then 
another group relating to the water. This is particularly 
noticeable in sites whose ideograms product two or more 
"A" and "B" components. Stage lis will tend to cluster in 
respect to the "A" and "B" components to which they 
relate. Stage II responses cluster in another sense as 
well . Frequently, types of sensory responses will come 
together. For example two or three tastes, smells, colors, 
or textures may cluster together as the viewer objectifies 
his perceptions on the paper. 

E. "Basic" Words: 

True Stage lis are generally simple, fundamental 
words dealing directly with a sensory experience: i.e. 
rough, red, cold, stinging smell, sandy taste, soft, 
moist, green, gritty, etc. When objectified words go 
beyond the "basics" they are considered "out of structure" 
and therefore unreliable. 

F. Aperture: 

After a proper Stage I Ideogram/ A/B sequence has 
been executed, the aperture (which was at its narrowest 
point during Stage I) opens to accommodate Stage II 
information . Not only does this allow the more detailed 
sensory information to pass through to the viewer, but it 
is accompanied by a correspondingly longer signal "loiter" 
time — the information comes in more slowly, and is less 
concentrated. Towards the end of Stage II, and approach 
the threshold of Stage III, the aperture begins to expand 
even further, allowing the acquisition of dimensionally 
related information, (see below.) 



G. Dimensionals : 



As the viewer proceeds through Stage II and 
approaches Stage III y the aperture widens, allowing the 
viewer to shift from a global (gestalt) perspective, which 
is paramount through Stage I and most of Stage II, to a 
perspective in which certain limited dimensional 
characteristics are discernable. "Dimensionals" are words 
produced by the viewer and written down in structure to 
conceptualize perceived elements of this new dimensional 
perspective he has now gained through the widening of the 
aperture. These words demonstrate five dimensional 
concepts : vertical-ness , horizontal-ness , angularity, 
space or volume, and mass. While at first glance the 
concept of "mass" seems to be somewhat inappropriate to 
the dimensional concept, mass in this case can be 
conceived in in dimensionally related terms as in a sense 
being substance occupying a specific three dimensional 
area. Generally received only in the latter portion of 
Stage II, dimensionals are usually very basic — "tall, " 
"wide, " "long, " "big. " More complex dimensionals such as 
"panoramic" are usually received at later stages 
characterized by wider aperture openings. If these more 
complex dimensionals are reported during Stage II they are 
considered "out of structure" and therefore unreliable. 

H. AOL: 

Analytic overlay is considerably more rare in 
Stage II than it is in Stage I. Though it does 
occasionally occur, something about the extremely basic 
sensory nature of the data bits being received strongly 
tends to avoid AOL. Some suppositions suggest that the 
sensory data received comes across either at a low enough 
energy level or through a channel that does not stimulate 
the analytic portion of the mind to action. In effect, the 
mind is "fooled" into thinking Stage II information is 
being obtained from normal physical sensory sources. The 
combination of true sensory data received in Stage II may 
produce a valid signal line "image" consisting of colors, 
forms, and textures. Stage II visuals or other true signal 
line visuals of the site may be distinguished from an AOL 
in that they are perceived as fuzzy, indistinct and 
tending to fade in and out as one attempts to focus on its 
constituent elements rather than the sharp, clear, static 
image present with AOL. 



I. Aesthetic Impact (AI) : 



Aesthetic impact indicates a sudden and dramatic 
widening of the aperture, and signals the transition from 
Stage II into Stage III. In normal session structure, it 
occurs only after two or more dimensional s occur in the 
signal line. On occasion, however, AI can occur more or 
less spontaneously in Stage II, especially when a site is 
involved with very pronounced Stage II elements, such as 
particularly noisome chemical plant. AIR is the viewer r s 
personal, emotional response to the site: "How the site 
makes you feel . " It can be a manifestation of sudden 
surprise, vertigo, revulsion, or pleasure. Though some 
sites seem to consistently elicit similar AI responses in 
any person who remote views them, it must still be borne 
in mind that an AI response is keyed directly to the 
individual ' s own personality and emotional/physical 
makeup, and that therefore AI responses can differ, 
sometimes dramatically so, from viewer to viewer. AI will 
be more fully discussed in the section of this paper 
dealing with Stage III. 

J. Drills/Exercises : 

To promote flexibility in producing Stage II 
responses, an exercise is usually assigned viewer 
trainees. This consists of producing a list of at least 
sixty sensory response type words, dealing with all the 
the possible categories of sensory perceptions: tastes, 
sounds, smells, tactile experience, colors and other 
elementary visuals, and magnetic /energetic experiences. 
When giving the assignment, the trainer emphasizes 
reliance on "basic" words as described above. 

K. Format: 

Following is a sample Stage II format : 



(FORMAT FOR STAGE II) 



Name 
Date 
Time 



(Personal Inclemencies/Visuals Declared) 



(STAGE I - 
Coordinate) 



(Ideogram) 



across angle up angle 
down angle across 
angle down 
solid 

Structures 



(STAGE II - 
Sensory Data) 



S2 white 
warm 

unclean smell 



AI Break 
Smells 
Gross ! 

AOL Break 
Smells like 
dirty air 



(STAGE I - 
Coordinate) 



(Ideogram - 
multiple) 



A 
B 



Up angle across angle 

down 

Solid 

Structure 

Angle across angle 

down 

Solid 

Structure 

Flat 
Hard 

Land 



(STAGE II) 



S2 grey 



white 
rough 
noisy 

densely populated - S4 (note 
this 



as Stage IV, not II) 



warm 



smell of fumes 



Confusion Break 
"Thud" or 
scraping sound. 
Can't tell. 



tall 
start 



[Note: this is the 



(Stage II - Dimensionals) 



of dimensionals] 



high 

solid 

wide 



AI Break 
Man! This 
thing is 



really BIG! 



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COORDINATE REMOTE VIEWING 



STAGE III 

A. Concept: 

As Stage II progresses the aperture opens 
dramatically wider than was the case with either Stage I 
or early Stage II. Dimensionals begin to emerge and the 
threshold is reached for the transition into Stage III. 
The shift into full Stage III is triggered by aesthetic 
impact (see below) . It is after this point that the true 
dimensionality of the site may begin to be expressed. This 
differs from dimensional elements encountered previously , 
in that Stage II dimensionals are individual aspects of 
the site, while Stage III dimensionality is a composite of 
inherent site aspects. The concept of "the viewer r s 
perspective" must, however, be avoided because in Stage 
III the viewer has not yet reached the point where 
complete comprehension and appreciation of the size, 
shape, and dimensional composition of the overall site can 
be ascertained. Generally, the viewer himself is not 
precisely aware of his own perceptual relationship to the 
site and therefore not consciously aware of the true 
relationship of all the dimensional components he is able 
to debrief from Stage III. As is discussed in various 
sections below, he must rely on the various tools 
available in Stage III to obtain and organize the 
increased information he is perceiving . Although Stage III 
can provide a great deal of information about any given 
site, the goal of Stage III is command of structure . 

B. Definitions: 

1. Aesthetic : Sensitivity of response to given 

site. 

2. Drawing : The act of representing something by 
line, etc. 

3. Idea : Mental conception; a vague impression; a 
hazy perception; a model or archetype. 

4. Impact : A striking together; changes, moods, 
emotions, sometimes very gross, but may be very weak or 
very subtle. 



5. Mobility : The state or quality of being 

mobile. 

6. Motion : The act or process of moving. 

7. Perceptible : That which can be grasped 
mentally through the senses. 

8. Prompt : To incite to move or to action; move 
or inspire by suggestion. 

9. Render inQ : Version; translation (often highly 
detailed) . 

10. Sketch : To draw the general outline without 
much detail; to describe the principle points (idea) of. 

11. To Track : To trace by means of vestiges, 
evidence f etc.; to follow with a line. 

12. Vision : One of the faculties of the sensorum f 
connected to the visual senses out of which the brain 
constructs an image. 

C. Site Requirements : 

A site selected for Stage III would logically 
require significant dimensional components. Locales such 
as bridges, monuments, airports, unusual natural 
formations, etc. are useful Stage III sites. 

D. The Six Primary Dimensionals : 

1. Diagonal : Something that extends between two 
or more other things; a line connecting two points of 
intersection of two lines of a figure. 

2. Horizontal : Parallel to the plane of the 

horizon . 

3. Mass : Extent of whatever forms a body — usually 

matter. 

4. Space : Distance interval or area between or 
within things. "Empty distance . " 

5. Vertical : Perpendicular to the plane of the 
horizon; highest point/lowest point (i.e., height or 
depth) . 

6. Volume : A quantity; bulk; mass; or amount. 



E. Aesthetic Impact: 



As the aperture widens rapidly from Stage II, a 
virtual avalanche of site information begins to impact on 
the viewer's unconscious. The cumulative effect of all 
this detail is to trigger a subjective response from the 
viewer. This opening of the aperture and subsequent 
subjective response is called Aesthetic Impact (AI) and is 
the viewer's subjective emotional response to the site. It 
is best described as "how the site makes the viewer feel. " 
AI may immediately follow two Stage II dimensional 
responses, but it will certainly follow three or more. It 
may be experienced and expressed in a variety of ways. A 
simple exclamation of "Wow! " may be the AI response when 
one is suddenly impressed by the immensity of some natural 
formation, such as the Grand Canyon or Yosemite r s Half 
Dome. On the other hand, such a site might just as easily 
spark a feeling of vertigo or fear of falling, or cause 
one to remark, ":This is really tall (or deep)!". A pulp 
mill might trigger an AI reaction of revulsion because of 
the nauseating smells. Or a comprehension of the grandeur 
or squalor of a site might cause one to have a sudden 
appreciate of beauty or ugliness . Other examples of AI 
might be claustrophobia, loneliness, fright, pleasantness, 
relaxation, enjoyment, etc. 

AI need not be pronounced to be present; in fact, 
it may often be quite subtle and difficult to recognize . 
It may sometimes be a sudden, mild cognitive recognition 
of the abrupt change in perspective, or a slight surprise 
or alteration of attitude about the site. Some viewers who 
in the past have had little experience with direct contact 
with their emotions may have difficulty recognizing that 
they experience AI, and may even be convinced it doesn r t 
happen to them. Such individuals must exercise a great 
deal of caution not to sublimate or suppress AI 
recognition, and require additional exposure to AI to help 
them learn to recognize and declare it appropriately. 

The monitor also has a role to play in helping 
the viewer to recognize AI . Body language, eye movement, 
and specific speech patterns can all be cues to the 
experienced monitor that AI is present. The monitor must 
draw the viewer's attention to the existence of an 
undeclared AI when he observes the "symptoms" of an AI 
unrecognized by the viewer. 



It is extremely Important to properly recognize 
and declare (objectify) AI, since how one deals with it 
can determine the entire course of the session from that 
point on. The viewer may not work throucjh AI . Aesthetic 
Impact must be recognized, declared, and allowed to 
thoroughly dissipate . Should the viewer err and attempt to 
work through AI, all information from that point on will 
be colored by the subjective filter of the emotional 
experience encountered, and AOL Drive and AOL "Peacocking" 
(discussed under AOL, below) can be expected to arise. 

AI is dealt with in the following manner. Moving 
through Stage II, the viewer begins to debrief a cluster 
of two or more basic dimensionals . He suddenly realizes 
that the aperture is expanding, and that in conjunction he 
is having a subjective emotional reaction to the 
site — whether pronounced or mild. He then states aloud as 
he objectifies on his paper "AI Break. " He then briefly 
says aloud and writes on the paper what the AI is. 
Declarations can be everything from a simple "Wow! " to 
"Disgusting! " to "I like this place" to "Vertigo" to "I 
feel sick" to "This is boring" to "I'm impressed by how 
tall this is" to "Absolutely massive! " . The viewer by 
taking this "AI Break" effectively disengages himself 
temporarily from the signal line and allows the emotional 
response to dissipate . The time required for this can vary 
from a few brief seconds for a mild AI to hours for one 
that is especially emphatic . 

It is important to note that, though many sites 
elicit essentially the same response in every individual 
who remote views it, each person is different than every 
other and therefore under certain circumstances and with 
certain sites AI responses may differ significantly from 
viewer to viewer. One example of this that has frequently 
been related is a small sandy spit off of Cape Cod, 
Massachusetts . One viewer, a highly gregarious woman who 
enjoys social interactions , when given the site responded 
that it made her feel bleak, lonesome, depressed, 
abandoned. On the other hand, a viewer who had spent a 
great deal of his time in nature and away from large 
numbers of other humans experienced the site as beautiful 
and refreshing. Since AI is subjective, such variations 
are not unexpected, and under the right circumstances 
[are] usually appropriate. 



F. Mot ion /Mobility: 



Two variations of the concept of movement are 
recognized as being available to the viewer during Stage 
III. The first is the idea of motion at the site: an 
object or objects at the site may be observed as they 
shift position or are displaced from one location to 
another. For example, there may be automobile traffic 
present, a train moving through the area, or whirling or 
reciprocating machinery, etc. 

"Mobility, " the second movement concept, is the 
ability possessed by the viewer in Stage III to shift his 
viewpoint to some extent from point to point about the 
site, and from one perspective to another, i.e., further 
back, closer up, from above, or below, etc. This ability 
makes possible the projection of trackers and sketches as 
described below. An additional feature this introduces is 
the ability to shift focus of awareness from one site to 
another using a polar coordinate concept . This is more 
fully explained under Movement /Movement Exercises, which 
follows. 

G. Dimensional Expression on Paper: 
1 . Sketches : 

a. Spontaneous sketches : With the expansion of 
the aperture and after dissipation of AI, the viewer is 
prepared to make representations of the site dimensional 
aspects with pen on paper. A sketch is a rapidly executed 
general idea of the site. In some cases it may be high 
representational of the actual physical appearance of the 
site, yet in other cases only portions of the site appear. 
The observed accuracy or aesthetic qualities of a sketch 
are not particularly important. The main function of the 
sketch is to stimulate further intimate contact with the 
signal line while continuing to aid in the suppression of 
the viewer's subjective analytic mental functionings . 
Sketches are distinguished from drawings by the convention 
that drawings are more deliberate, detailed 
representations and are therefore subject to far greater 
analytic (and therefore AOL-producing) interpretation in 
their execution. 

b. Analytic Sketches : Analytic sketches are 
produced using a very carefully controlled analytic 
process usually employed only when a satisfactory 



spontaneous sketch as described above Is not successfully 
obtained. An analytic sketch Is obtained by first listing 
all dimensional responses obtained In the session, 
Including those contained In the "A" components of the 
various Coordinate/ I /A/B prompting sequences, In the order 
and frequency they manifest themselves on the session 
transcript . Each of these dimensional elements apparently 
manifests Itself In order of Its Importance to the gestalt 
of which It Is a part. So, for example, If In the first 
"A" component of the session one encounters "across, 
rising, " thee two would head the list, and their 
approximate placement on the paper will be determined by 
the viewer before any other. A second list Is then 
compiled, listing all secondary attributes of the site. 
Finally, a list may be made If desired of any significant 
" details" that do not fit Into the previous two 
categories . 

In analytic sketching the Intuitive part of the 
viewer's apparatus Is not shut off. He must continue to 
attempt to "feel" the proper placement of the dimensional 
elements of the site. In fact, the purpose of this 
approach to sketching Is to "re-lgnlte" the viewer's 
Intuition. As each element on the primary list Is taken In 
order, the viewer must "feel" the proper position for that 
element In relation to the others. If the dimensional 
element "round" Is listed, It must be determined how a 
rounded element fits In with "across, " "rising, " "flat, " 
"wide, " "long, " and any other dimensional elements that 
may have preceded It. When elements from the primary list 
are exhausted, the viewer may duplicate the process with 
those from the secondary list . If necessary and desirable, 
the viewer may proceed to the details list and assign them 
their appropriate locations. 

2. Trackers : Stage III contact with the site may 
on occasion produce an effect known as a tracker. This Is 
executed by a series of closely spaced dots or dashed 
lines made by pen on paper, and describes a contour, 
profile, or other dimensional aspect of the site. Trackers 
are formed In a relatively slow and methodical manner. The 
viewer holds pen In hand, lifting It off the paper between 
each mark made, thereby allowing the autonomic nervous 
system, through which the signal line Is being channeled, 
to determine the placement of each successive mark. While 
constructing a tracker, It Is possible for the viewer to 



spontaneously change from executive the tracker to 
executing a sketch, and back again. 

3. Spontaneous Ideograms : At any point In the 
sketch/tracker process, an Ideogram may spontaneously 
occur. This most probably relates to a sub-gestalt of the 
site, and should be treated like any other Ideogram. It 
will produce "A" and "B" components, Stage lis, and so 
forth. Because of the possibility for the occurrence of 
these spontaneous Ideograms with their potential for 
conveying additional Important site Information, viewers 
are strongly counseled to always keep their pen on paper 
to the greatest extent practical. 

H. Movement /Movement Exercises: 

An outgrowth of the viewer mobility concept 
Involves the ability of the viewer to shift his focus from 
one site to other sites using a polar coordinate concept. 
This Is often termed a "movement " or "movement exercise, " 
and Is executed thusly. The viewer Is given the 
coordinates for the base site, and the session proceeds as 
normal : I/A/B, Stage lis, dlmenslonals , AI to Stage III 
sketches /trackers . When the monitor Is confident that the 
viewer has successfully locked onto this primary site, he 
tells the viewer to "prepare for movement . " The viewer 
accordingly places his pen on the left side of the paper, 
Indicating he Is ready for a new prompting coordinate as 
per convention . The monitor then tells the viewer to 
acquire the central site. The viewer responds with a very 
brief, few-word description of the base site, whereupon 
the monitor gives a prompting statement In lieu of the 
usual geographic coordinate. This statement Includes a 
distance and direction from the base site, and Is couched 
In words as neutral, passive and non- suggestive (therefore 
less AOL-lnduclng) as possible . 

By way of example, let us assume that the base 
site Is a large grey structure, and the secondary site to 
which the viewer r s focus Is to be moved Is 8 1/2 miles 
northwest of the base site. The monitor will say "Acquire 
the site, " to which the viewer responds approximately, "A 
large grey structure . " The monitor then says "8 1/2 miles 
(to the) northwest something should be visible. " Just as 
he would a geographic coordinate, the viewer objectifies 
this phrase by writing It down, places his pen on the 
paper to receive the Ideogram, and progresses from there 



just as If he were processing any other new site. 

Note, however, the very neutral way the monitor 
provided the prompting . He avoided such leading words as, 
"What do you see 8 1/2 miles northwest?" or "You should be 
able to see (hear/ feel/smell) something 8 1/2 miles 
northwest." Observe also that "motion words" ("move," 
"shift," "go," etc.) were also avoided. Words and 
phraseology of either type tends to cause the viewer to 
take an active role, directly attempting to perceive the 
site Instead of letting the signal line bring the 
Information to him. This sort of active Involvement 
greatly encourages the development of AOL and other mental 
noise effects. 

Instead, the passive wording used by the monitor 
stimulates the analytic component of the mind as little as 
possible, allowing uncontamlnated signal line data to be 
received. Examples of acceptable passively framed words 
relating to sensory Involvement are: "should be visible, " 
"hearable, " "smellable, " "feelable, " "tasteable, " etc. In 
earlier stages sensory-based wording would have been 
avoided as a catalyst to AOL. With the widened aperture In 
Stage III, however It may be used successfully . 

This movement technique may be used any number of 
times, starting either from the original base site, or 
from one of the other subsequent sites to which the 
viewer's perception has been "moved. " 

I. Analytic Overlay (AOL) In Stage III: 

1. 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. 

2. 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 f 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. 

a. Ratchetincr : The recurrence of the same AOL 
over and over again as if trapped in a feedback loop. 

b. 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 . 

J. Format : 

Following is a sample Stage III format : 



(FORMAT FOR STAGE III) 



Name 
Date 
Time 



(Personal Inclemencies/Visuals Declared) 



(STAGE I - 
Coordinate) 



(Ideogram) 



Rising 

Angles Across 

Downs 

Solid 

Structures 



(STAGE II - 
Sensory Data) 



S2 grey 
white 
rough 

gritty texture 
noisy 

mixture of sounds 

warm 

moist 

smell of fumes 
unclean smell 
hazy 



tall (beginning of 

dimensional s leading to AI 
and Stage III 
sketching/tracking) 



wide 
long 
huge 



AI BREAK 

Wow! I'm dizzy! 



(Stage III) 



(SKETCH OR TRACKER) 



AOL BREAK 
Empire State 
Building 



COORDINATE REMOTE VIEWING 



STAGE IV 

A. Concept: 

With the successful accomplishment of Stage III / 
the viewer has become subject to an enormous flood of 
Information available from the site. Previously , such a 
flow of data would have been overwhelming ', and those 
circumstances In Stages I through III In which the viewer 
found himself so Inundated would have required the taking 
of a "Too Much Break. " At this point, however, It becomes 
both possible and necessary to 1) establish a systemic 
structure to provide for the orderly, consistent 
management of the volumes of Information that may be 
obtained, and 2) facilitate and guide the viewer r s 
focusing of perceptions on ever finer and finer detail of 
the site. This Is accomplished through the use of an 
Information matrix which Is Illustrated below. Stage IV Is 
a refinement and expansion of the previous structure to 
facilitate more complete and detailed decoding of the 
signal line. 

B. Definitions: 

Most of the terms used In a Stage IV matrix have 
been defined previously. Those that have not are explained 
as follows: 

1. 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. 

2. 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. 

3. 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. 

4. 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. 

5. Dlmenslonals : "Dlmenslonals" have an even 
broader meaning here than In Stage III. In Stage IV, more 
detailed and complex dlmenslonals 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. 

C. Stage IV Matrix: 

To provide the necessary structure for coherent 
management of this Information, matrix column headings are 
constructed across the top of the paper thusly: 

S-2 D AI EI T I AOL AOL/S 

These headings stand for the following: 

1. S-2: Stage II Information (sensory 
data) . 

2. D: Dlmenslonals. 

3. AI: Aesthetic Impact. 

4. EI: Emotional Impact. 

5. T: Tangibles. 

6. I: Intangibles. 

7. AOL: Analytic Overlay. 

8. AOL/S: AOL/ Signal. 

D. Session Format and Mechanics: 



As the viewer produces Stage IV responses 



(generally single words that describe the concepts 
received via the signal line) they are entered In the 
matrix under their appropriate categories. The matrix Is 
filled In left to right, going from the more sense-based 
Stage lis and dimensional towards the ever more refined 
Information to the right, and top to bottom, following the 
natural flow of the signal line. Stage IV Information, 
similar to that of Stage II, comes to the viewer In 
clusters . Some particular aspect of the site will manifest 
Itself, and the sub-elements pertaining to that aspect 
will occur relatively rapidly to the viewer In the general 
rlght-to-left and top-to-bottom pattern just described. 
Some degree of vertical spacing can be expected between 
such clusters, an Indication that each of these clusters 
represents a specific portion of the site. 

Entries In a properly fllled-ln matrix will tend 
to move slantwise down the page from the upper left to 
lower right with some amount of moving back and forth from 
column to column. Stage lis and dlmenslonals retain their 
Importance In site definition, while AOLs and AIs, once 
they have been recognized and objectified as such, so not 
require a major Interruption In the flow of the signal 
line as was the case In previous stages. In fact, AOLs now 
frequently become closely associated with the site and may 
lead directly to "AOL matching, " or AOL/ Signal, as It Is 
categorized In the matrix and described above. EI tends to 
manifest Itself comparatively more slowly than Information 
In other categories. If people are present, for example, 
EI pertaining to them may be effectively retrieved by 
placing the pen In the EI column of the matrix. Several 
moments of subsequent waiting may then be required for the 
signal to build and deliver Its available Information. 
Tangibles will frequently produce Immediate sketches or 
Ideograms, which lead to yet more Intimate contact with 
the signal line. 

Some degree of control over the order of 
Information retrieval from the signal line can be 
exercised by the viewer, determined by which column he 
chooses to set his pen to paper. This acts as a prompting 
mechanism to Induce the signal line to provide Information 
pertinent to the column selected. For example, If more 
Intangibles relating to the site are desired, the pen may 
be placed In the "I" column to Induce the extraction of 
Intangible Information from the signal line. 



The Stage IV process can be very rapid, and care 
must be taken to accurately decode and record the data as 
It comes. However, If as sometimes happens the signal flow 
should slow, It Is recommended that resting the pen on 
paper In the "EI" column may enhance retrieval of "EI" 
Information, which In turn may potentially stimulate 
further signal line activity and acquisition . 

E. Format: 

Following Is a sample Stage III format : 

(FORMAT FOR STAGE IV) 



Name 
Date 
Time 

(Personal Inclemencies/Visuals Declared) 

(STAGE I - (Ideogram) A Rising 

Coordinate) Angles Across 

Downs Solid 

B Structures 

S2 rough 
smooth 

gritty texture 
grey 
white 
red 
blue 
yellow 
orange 
clean taste 
mixture of smells 
warm 
bright 
noisy 

(STAGE II - Dlmenslonals) tall 

rounded 
wide 
long 
open 



(STAGE II - 
Sensory Data) 



AI BREAK 
Interesting. 
I like it here. 

(Stage III) (SKETCH OR TRACKER) 

[STAGE IV] 



S-2 D AI EI T I AOL AOL/S 

structures 

rough 
smooth 

manmade 

high 
tall 
wide 

AI BREAK 
This is 
neat ! 

doors 
windows 

colorful 

parapets 
building 

[SKETCH] 

foreign 
feeling 

people 

somber 
serious 
devoted 
enthusiastic 

secular 

AOL BREAK 
A castle 
in a city 



church 



Notre Dame 
Cathedral 



NEXT PAGE 



COORDINATE REMOTE VIEWING 



STAGE V 

A. Concept: 

Stage V Is unique among the remote viewing stages 
thus far discussed in that it does not rely on a direct 
link to the signal line to obtain the Information 
reported. Instead, data Is derived through accessing the 
Information already available below the llmlnal threshold 
In the brain and autonomic nervous system. This 
Information Is deposited In earlier stages when the signal 
line passes through the system and "Imprints" data on the 
brain by causing cognltrons to form through the 
rearrangement of the brain r s neuronal clusters Into the 
appropriate patterns, roughly analogous to what occurs In 
a computer T s memory storage when It receives a data dump. 

Information "stored" In a cognltron can be 
accessed by a certain prompting methodology . In normal 
brain functioning, cognltrons are Induced to deliver up 
the Information they store through some stimulus delivered 
by the brain, much In the same way as a capacitor In an 
electronic circuit can be triggered to release Its stored 
electric charge. 

When properly prompted, the Information released 
consists of sub-elements which together form the complete 
cognltron. For example, the concept "religious" may be 
represented by one complete cognltron (cluster of 
neurons) ; each neuron would store a sub-element of that 
cognltron. Hence, the cognltron for "religious" could have 
neurons storing data for the following elements : "quiet, " 
"Incense, " "harmonious chanting, " "bowed heads, " "robes, " 
"candles, " "dimly lit, " "reverence, " "worship, " "respect, " 
etc. If attention Is paid to what underlies the concept of 
"religious" as It Is originally evoked In Stage IV, the 
sub-elements , which may themselves provide valuable 
Information far beyond their collective meaning of 
"religious, " may be broken out and assembled. These 
sub-elements as they are brought forth In Stage V are 
known as "emanations" ( "emanate" literally defined means, 
"to Issue from a source, to flow forth, to emit, or to 
Issue") . 



B. Definitions: 



1. 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 cognltron 
to form in the viewer's mind and hence prompt his response 
of "religious; " i.e., "robes," "candles, " "incense," etc. 

2. 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. 

3. 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. 

4. 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. 

C. Format and Structure: 

Because extreme caution must be exercised to 
avoid phrases or promptings that might either induce AOL 
or otherwise unnecessarily engage the viewer's analytic 
mental processes, a sort of "hypo-stimulative" type of 
referral system must be used to "target" the viewer. This 
is accomplished by dividing the possible types of 



emanations obtainable Into four categories: objects, 
attributes, subjects, and topics, then prompting the 
release of subllmlnally-held Information by saying and 
writing "Emanations, " followed only by a question mark. 

In actual execution, the Stage V format would 
look somewhat as follows: 

religious 

objects 

emanations? 

robes 

candles 

Incense 

religious 

attributes 

emanations? 

quiet 
dimly lit 
echoing 
large 

religious 

subjects 

emanations? 

worship 

reverence 

respect 

harmonious 

chanting 

religious 

topics 

emanations? 

mass 
Catholic 
priest 
communion 

Note the arrangement of the prompters. First Is 
written the word or concept being broken out. Directly 
under It Is the particular category to be considered. 
Finally comes the word "emanations, " followed by a 
question mark. This methodology was developed as the best 



means of directing a query into the neural "data storage 
area" of the subconscious without inadvertent "hinting, " 
suggestion, or engagement of analytic processes . The word 
"emanations" represents the sub-elements or component 
parts of the "religious" cognitron which emerged from the 
subconscious as a collective concept for these 
sub-elements . Because it possesses the combined neural 
energy of the aforementioned components, during Stage IV 
the overall cognitron-concept is able to pass into the 
conscious awareness of the viewer with relative ease. The 
sub-elements themselves , however, have insufficient 
impetus to individually break unaided through the Liminal 
barrier into the consciousness of the viewer, and must 
intentionally be invoked through the Stage V process. 

It is suspected that the most amount of 
information will probably be derived from attribute or 
topic categories, though at times both object and subject 
headings might provide significant volumes of information . 
If, as occasionally may happen, all four categories are 
prompted and no responses result, it can be supposed that 
one of two situations exist: the response being 
stage-fived is either already at its lowest form, or it is 
really AOL. 

D. Implications: 

The value of Stage V is readily apparent. Though 
the sum total of the information obtained quite validly 
might produce the overall cognitron of "religious" in the 
context of an RV session, once rendered down to its 
sub-elements and details the cognitron produces a wealth 
of additional information of use to the analyst. 

E. Considerations : 

The process has a few peculiarities and a few 
cautions to observe. First, one must be aware that not 
every cognitron necessarily produces responses for every 
category, and in those that do, some categories are 
inevitably more heavily represented than others. In 
general, the rule is that if the list of words that the 
viewer produces under the particular category being 
processed does not flow smoothly, regularly, rapidly, and 
with obvious spontaneity, the end of accessible 
information has been reached. Therefore, if there is a 
pause after the last word recorded of more than a few 



seconds, the end of the cluster has probably been reached. 
On the other hand, If after the original prompting nothing 
comes forth spontaneously, there are probably no 
accessible emanations pertaining to the cognltron being 
processed In that category. For example, If the viewer 
just sits with pen on paper, with nothing to objectify 
after the viewer has written "religious, " "topics" (or 
other category), and "emanations?" then topic-type 
Information was probably not relevant to the formation of 
that cognltron . If such a situation should occur either at 
the beginning of a category or at the end of one more 
productive, the viewer should either on his own or with 
encouragement from the monitor declare an end to that 
particular category and move on to the next. Usually, the 
viewer Is Intuitively aware when more valid Information 
remains to be retrieved and when the end of a cluster has 
been reached. To sit too long waiting for more Information 
If none Is readily available engages the analytic process 
and encourages the generation of AOL. 

The viewer must also be aware that some responses 
might at one time or another appear In any one or more of 
the category columns. One example frequently given Is 
"warm. " Although one might consider this an attribute of 
some object-related word, as a concept of temperature 
"warm" could just as well show up In the Object column 
Itself. "Electronic, " on the other hand, Is unlikely to be 
an object, but could easily fit Into attribute, subject or 
topic columns. 

F. Switches: 

The "switch" Is another Issue that needs to be 
properly understood In conjunction with the Stage V 
process. Sometimes, the viewer will be busily recording a 
string of emanations under a particular category when 
suddenly emanations from another category Intrude. For 
example: 

religious 

objects 

emanations? 

robes 
candles 
hall 
quiet 



long 

dimly lit 
echoing. . . 

Notice that a few "object" words come through at 
first, to be replaced spontaneously by words more 
appropriate to the "attribute" category. This Is known as 
a "switch" — a point In a Stage V chain where a sudden 
switch Is made from one category to another. There are 
several possible causes for this. The first Is that the 
viewer has In a sense skipped down a level In detail, and 
proceeds to provide sub-elements of Information for the 
last valid Item In the category — In the above example the 
words quiet, long, etc., are attributes of "hall," Instead 
of objects belonging to "religious . " 

A second possibility Is that all emanations of a 
given category are exhausted without the viewer being 
conscious of the fact, and emanations from another 
category begin to Intrude out of proper structure, as 
shown below: 

robes 
candles 
soothing 
dim 

peaceful 
decorated 

Finally, It may be the case that no emanations of 
the proper type might manifest themselves, but only 
Intruders from another category, Such a situation would 
Indicate that no emanations of the sort that would be 
expected for the prompted category are present, and that 
such emanations were obviously not Important In the 
formation of the cognltron being Stage-flved. 

To deal with a switch, one must task the system 
(after analyzing what has happened) using an alternative 
category suggest by the trend In the data line. In other 
words, If attributes are produced by the switch, one 
should shift to the "attribute" category and re-prompt the 
word/ cognltron under examination. 

G. AOL and Stage V: 

Objects and Attributes may be considered 
"objective elements, " In that like Stage lis, these 



responses are much less likely to spark AOLs . Topics and 
Subjects, on the other hand, are "subjective, 
Informational elements, " and require special attention to 
avoid AOL contamination. 

AOL too may lend Itself to being " stage- flved . " 
It Is axiomatic In this RV theory system that analytic 
overlay Is generally valid, site-related Information which 
the analytic centers of the brain have simply taken and 
"embroidered" with memory associations and suggestive 
Imagery. This Implies that accurate Information can 
possibly be derived from an AOL through the Stage V 
process. For the purposes of Stage V, these kernels of 
valid site-Information are called "prior emanations . " The 
format for " stage- flvlng" AOLs Is as follows: 

AOL mosque 

prior emanations? 

large 
assembly 

religious decorations 

singing 

reverence 

scriptures 

clergy 

When prompting valid prior emanations from an 
AOL, It Is Important to Indicate only "AOL, " and not say 
or write "AOL Break" as the viewer has been conditioned to 
do In most other circumstances Involving AOL, since the 
word "break" Is Intended both to disengage the viewer from 
the signal line and to Inform the viewer's system that the 
material occasioning the "break" was not desirable. 

The prior emanations that result from 
" stage- flvlng" an AOL tend to be a mixture of the four 
Stave V categories, selected words of which could 
presumably further be " stage- flved . " 

Finally, when normal AOL Is encountered In the 
course of a Stage V cluster, which It sometimes Is, It 
should be declared according to the normal practice, and 
the category re-prompted. If deemed appropriate, such AOL 
could no doubt also be subjected to Stage V reduction. 

H. Format: 

A sample format for Stage V follows: 



(FORMAT FOR STAGE V) 



(Personal Inclemencies/Visuals Declared) 



(STAGE I - 
Coordinate) 



(Ideogram) 



Rising 

Angles Across 
Downs Solid 

Structures 



Name 
Date 
Time 



(STAGE II - 
Sensory Data) 



(STAGE II - Dlmenslonals) 



S2 rough 
smooth 

gritty texture 

grey 

white 

red 

blue 

yellow 

orange 

clean taste 

mixture of smells 

warm 

bright 

noisy 

tall 

rounded 

wide 

long 

open 



AI BREAK 
Interesting. 
I like It here, 



(Stage III) 
[STAGE IV] 



(SKETCH OR TRACKER) 



S-2 



AI 



EI 



AOL 



AOL/S 



structure 



rough 
smooth 



manmade 

high 
tall 
wide 

AI BREAK 
This is 
neat ! 

doors 
windows 

colorful 

parapets 
building 

[SKETCH] 

foreign 
feeling 

people 

somber 
serious 
devoted 
enthusiastic 

secular 

AOL BREAK 
A castle 
in a city 

church 

(STAGE V) 

religious 

objects 

emanations? 

robes 

candles 

incense 



religious 

attributes 

emanations? 

quiet 
dimly lit 
echoing 
large 



religious 

subjects 

emanations? 

worship 

reverence 

respect 

harmonious 

chanting 



religious 

topics 

emanations? 

mass 
Catholic 
priest 
communion 



AOL mosque 

prior emanations? 

large 
assembly 

religious decorations 

singing 

reverence 

scriptures 

clergy 



NEXT PAGE 



COORDINATE REMOTE VIEWING 



STAGE VI 

A. Concept: 

Stage VI Involves the three-dimensional modeling 
of the site. As such, It Is In a sense the continuation of 
expression of the site's physical characteristics begun In 
Stage III. Stage VI modeling Is a kinesthetic activity 
which appears to both quench the desire to produce AOL and 
act as a prompt to produce further Information relating to 
the site — Including not just the physical aspects being 
modeled, but other elements not directly associated with 
the modeling Itself. 

B. Functions of Modeling: 

Stage VI, modeling, has two functions: 

1 . Kinesthetic Interaction with the site by 
describing the site with 3-dlmenslonal materials, which 
facilitates the assessment of relative temporal* and 
spatial dimensional elements of the site, and; 

2. Kinesthetic Interaction with the site which 
effectively lowers the llmlnal threshold of the viewer by 
narrowing the RVer r s attention field to specific locales 
(time/space) . (Kinesthetic activity Is space/time 
activity, such as moving an object from point A to point 
B. Not only has the object moved In space, It has also 
taken time to make the move. Everything In the physical 
universe Is because of kinesthetic activity. ) 

* NOTE: An example of relative temporal assessment would 
be describing a site as being contemporary and modern, 
with an old world ambience, which the people of today 
visit to understand the past. 

C. RV Modality: 

There are two types of kinesthetic activities In 
remote viewing — the detect mode and the decode mode. The 
detect mode Includes those behaviors that act as 
progressively engineered stimuli to the RVer, which In 
Stage I Involves writing the coordinate and In Stage III 
Involves the rendering of a sketch, drawing, or tracker . 
In Stage VI this mode Is represented by 3-dlmenslonal 



model constructing . Decode kinesthetics , on the other 
hand, are objectlflcatlons which act as responses to the 
stimuli of the detect mode. Representing the decode mode 
are the Stage I Ideogram, Stage II basics, Stage III 
dlmenslonals , the Stage IV matrix, and the Stage VI 
matrix, all of which are produced from the signal line. 
Stage V Is neither detect nor decode as Stage V 
Information comes from cognltrons formed subconsciously 
rather than from the signal line. 

D. Discussion: 

According to theory, as the viewer proceeds 
through the earlier Stages, his contact with the site Is 
enhanced In quality and Increased In extent. Stage VI 
Involves the viewer In direct 3-dlmenslonal modeling and 
assessment of the site and/or the relationship of Site "T" 
elements, one to another. 

Stage VI may be engaged at several different 
junctures : after completion of Stage IV and/or Stage V. It 
can also be entered when Stage IV has stabilized, 
appropriate AI has been encountered and dealt with, and 
the viewer has become localized on a specific aspect of 
the site. Because Stage IV data Is collected by "winking" 
around the site, thereby providing Incongruent 
Information, the stabilization/localization must occur 
prior to Stage VI. After the Stage IV "T" has been 
modeled, the session can proceed moving to Stage V or be 
continuing further with Stage VI. 

E. Session Mechanics: 

As soon as the decision Is made to proceed Into 
Stage VI the viewer places In front of him the modeling 
material (usually clay) that has been kept nearby since 
the start of the session . At the same time, he also takes 
a blank piece of paper and writes a Stage VI Matrix on It. 
As the viewer proceeds to manipulate the modeling material 
Into the form(s), dimensions, and relationships that 
"feel " right to him, he maintains as his concentrated 
effort the perception of the site details that are freed 
to emerge Into his consciousness by the kinesthetic 
experience of the modeling process. These site data are 
recorded In their appropriate columns on the matrix as the 
Stage VI portion of the session continues. 

1. Matrix: The Stage VI Matrix Is Identical In 



form to the Stage IV Matrix: 



S-2 D AI EI T I AOL AOL/S 

However, It Is labeled "Stage VI" for both record keeping 
purposes and because that matrix pertains to a specific 
locale In time/space and not the entire site. 

2. Considerations : In practice, the viewer 
constructs the Stage VI Matrix, sets It aside, constructs 
a 3-dlmenslonal model of Stage IV "T r s, " and records 
Information perceived from the signal line. During the 
modeling process, the viewer must : 

a) Focus his awareness on the signal line (not 
the model) and the Information which will begin to slow as 
the model Is constructed, and; 

b) Objectify that Information within the 
prepared Stage VI Matrix. The viewer must keep In mind 
that the model does not have to be a precise or accurate 
rendering. It Is the objectified Information resultlncr 
from the modeling that Is IMPORTANT. 

F. Format: 

Following Is the format for a typical Stage VI 

session: 

(FORMAT FOR STAGE VI) 



(Personal Inclemencies/Visuals Declared) 

(STAGE I - (Ideogram) A Rising 

Coordinate) Angles Across 

Downs Solid 

B Structures 



Name 
Date 
Time 



S2 rough 
smooth 

gritty texture 
grey 
white 
red 
blue 
yellow 
orange 
clean taste 
mixture of smells 
warm 
bright 
noisy 

(STAGE II - Dimensionals) tall 

rounded 
wide 
long 
open 

AI BREAK 
Interesting. 
I like it here. 

(Stage III) (SKETCH OR TRACKER) 

[STAGE IV] 

S-2 D AI EI T I AOL AOL/S 

structure 

rough 
smooth 

manmade 

high 
tall 
wide 

AI BREAK 
This is 
neat ! 

doors 



(STAGE II - 
Sensory Data) 



windows 



colorful 



parapets 
building 

[SKETCH] 

foreign 
feeling 

people 

somber 
serious 
devoted 
enthusiastic 

secular 

AOL BREAK 
A castle 
In a city 

church 

(STAGE V) 

religious 

objects 

emanations? 

robes 

candles 

Incense 

religious 

attributes 

emanations? 

quiet 
dimly lit 
echoing 
large 



religious 

subjects 

emanations? 

worship 

reverence 

respect 

harmonious 

chanting 

religious 

topics 

emanations? 

mass 
Catholic 
priest 
communion 



AOL mosque 

prior emanations? 

large 
assembly 

religious decorations 

singing 

reverence 

scriptures 

clergy 

(STAGE VI - this matrix is filled in while viewer is 
constructing the model) 

STAGE VI 

S-2 D AI EI T I AOL AOL/S 

church 

hand-hewn 
stones 

grey 
rough 

very large 



very old 
war damaged 

monument 

dreary climate 

International 
feeling 

rubble 

separate 
structure 

tall 

straight 

rectangular 

high 

wide 

AI BREAK 
This 

is really neat ! 
It feels very 
familiar. 

modern 

same purpose 
as other 
structure 

church 

New 

church 

and 

old 

church 

are 

the 

same 

cosmopol it an 
atmosphere 

war 

atrocities 



* Viewer's Summary: Site is composed of two churches. One church, 
which is old and made of hand-hewn stones, has been damaged by war. 
There is a lot of rubble around it. The new church is very modern in 
design. Both are located in an area with a cosmopolitan atmosphere 
and an international flavor. The older church as been left as a 
monument to remind the people of today of the war atrocities of the 
past . The new church now serves the same purpose as the older church 
did at one time — a house of worship. 

* NOTE: At the end of a session, the viewer will often produce a 
short summary of the data contained in session structure as an aid 
in tying together the information derived from the signal line. 

FEEDBACK NOTE: Site is the new Kaiser Wilhelm Church and the 
war-torn older Kaiser Wilhelm Church, which are side-by-side in 
Berlin, Germany. The older church, demolished by bombing during 
World War II, has been left to stand as a monument and a reminder to 
all who visit. 



NEXT PAGE 




COORDINATE REMOTE VIEWING 



GLOSSARY 



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Z 



A 

"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 /mot ion of the 
site. For example, the monitor has selected, unknown to 
the viewer, a mountain as the trainee 1 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 siteC 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 T 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.t 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^] 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 . t 8 i 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 tall. 

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 . i 1 ^] Once the 
AOL-D rive 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. 

Bl-locatlon Break (Bllo 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 Bllo break must be declared and 
objectified to allow the viewer to back out, and 
then get properly recoupled with the signal line 
again . mi 



Codl n cr/En codln cr/De coding : 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. 

Dimensional s : "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-sesslon 
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. 

Manor 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 Secruence : 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^ 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/mot Ion " 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; rr 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 objectlflcatlon (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. 

Intancrlbles : 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. [*] 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 cognltron to 
form In the viewer's mind and hence prompt his response of 
"religious; " I.e., "robes, " "candles, " "Incense, " etc. 



Obiectlflcatlon : The act of physically saying out loud and 
writing down Information. In this methodology, 



objectl flcatlon 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, objectl flcatlon "gives reality" to 
the signal line and the Information It conveys. Finally, 
objectl flcatlon 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 
psychoenergetlc perception^ 1 ! A term coined by 
SRI-Internatlonali 2 ! and defined as "the acquisition and 
description, by mental means, of Information blocked from 
ordinary perception by distance, shielding or time. "I 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. 



Vision : One of the faculties of the sensorum, connected to 
the visual senses out of which the brain constructs an 



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. 



V 



image . 



NEXT PAGE 



ii 




COORDINATE REMOTE VIEWING 



THE END. 

PJ 's Ending Notes: 

This has nothing to do with the manual really. 

However, for those concerned about such issues of propriety, be aware that 
Psi-Tech Corp. (c/o VP Jonina Dourif) has threatened to sue me over the 
posting of this CRV Manual. 

Since Mr. Dames and Ms. Dourif are well known 'behind the scenes' in the RV 
field for being highly litigious, many of us decided long ago that our response 
to such things would be to publicly post such correspondence on the WWW, so 
the public would be aware of it. 

It is my personal contention that the reason Psi-Tech has taken offense at the 
posting of this manual is less related to the document than it is to the 
document providing evidence that Psi-Tech has been less than honest in their 
dealings with the public. 

For instance, it proves that a great deal of public slander and discrediting of 
other legitimate remote viewers (competition) which has been done by Ed 
Dames, based on his supposedly unique and superior methods, has zero basis 
in reality. It proves that his "TRV" methods are in fact not unique and are 
boldly plagiarized from Ingo Swann, renamed and sold as his own invention. It 
proves that these methods have been advertised and sold to the public under 
less than completely honest pretenses (and there's a whole subject itself on 
that point). 

The posting of this manual could, as a result, be detrimental to the public 
image of Psi-Tech. However, since a history of shockingly malicious public and 
private behavior by the two principals of the firm, and many other events 
which normally harm businesses have not apparently impeded Psi-Tech's 
success, I trust that this manual will not either. 

If you would like to view the correspondence relating to this claim of copyright 
infringement, you can find it here: 

http://www.firedocs.com/remoteviewinq/answers/crvmanual/claimsl.html 

For the record, the CRV manual was created in and dated 1986. It was written 
by Paul H. Smith [Major, ret.], based on the methods of Mr. Ingo Swann. It 
was a work for hire: by SRI -I (who paid Swann for proprietary methods 
development) and the DIA (who paid Smith to write the manual). Either the 
document was classified (provoking the question of why Mr. Dames was 
disseminating it publicly six years before the project was declassified), and that 
would make it government property, or it was unclassified, which puts it 
squarely in the public domain. (The U.S. Gov't cannot copyright; they can only 
classify. Copyrights, unlike trademarks, are not upheld on first-filed basis, but 
on the circumstance and date of original creation.) 



If there is anybody else who would like to sue me because they believe they 
have a right to "own" the manual despite it being a public document years 
prior to their claim—and I realize that a number of people have utilized this 
manual for years so there might be someone—please contact me at 
palyne@firedocs .com. Thank you. 

PJ Gaenir 

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CLAIMS 1 . HTML 

A file of correspondence related to the copyright 
in fr increment claims made by P si-Tech, Inc. against Palyne 
"PJ" Gaenir and the Firedocs web site. Internet email 
headers included. Items are in date order. 

Received: from imol8.mx.aol.com (imol8.mx.aol.com [198.81.17.8]) 

by zmatrix.com (8.8.5/8.8.5) with ESMTP id NAA07642; 

Sun, 5 Jul 1998 13:35:56 -0600 (MDT) 

From: JoniDourif@aol.com 

Received: fromJoniDourif@aol.com 

by imol8.mx.aol.com (I M0vl4_bl.l) id QDZMa29473; 

Sun, 5 Jul 1998 15:35:08 -0400 (EDT) 

Message-ID: <6d3d9244.359fd56d@aol.com> 

Date: Sun, 5 Jul 1998 15:35:08 EDT 

To: fire@zmatrix.com, PJ@zmatrix.com 

Cc: t.blair-k.liu@worldnet.att.net 

Mime- Version: 1.0 

Subject: PSI TECH CRV Copyrighted Manual 
Content-type: text/plain; charset=US-ASCI I 
Content-transfer-encoding: 7bit 
X-Mailer: AOL 4.0 for Windows 95 sub 170 
X-UI DL: 71a3652af78dbldb94115a6f6f8dde69 

Dear Ms. Ganier: 

You obviously have taken a PSI TECH copyrighted property and reproduced it 
without the PSI TECH stamp. This does not change the fact the written material 
is a PSI TECH Copyrighted document -- and has been so, since 1989. 

Regardless, of your opinion of the chronology of events; you cannot break laws 
due to misinterpretation, especially after being warned. 

Take the document down unless you are prepared to fight PSI TECH in court. 

Jonina Dourif 
PSI TECH, VP 

J oniDourif@aol.com 

J oniDourif@trv-psitech.co 

310-657-9829 

Received: from imol6.mx.aol.com (imol6.mx.aol.com [198.81.17.6]) 

by zmatrix.com (8.8.5/8.8.5) with ESMTP id OAA20653; 

Sun, 5 Jul 1998 14:38:54 -0600 (MDT) 

From: JoniDourif@aol.com 

Received: fromJoniDourif@aol.com 

by imol6.mx.aol.com (I MOvl4_bl.l) id QZNSa27696; 

Sun, 5 Jul 1998 16:38:12 -0400 (EDT) 

Message-ID: <e0648659.359fe435@aol.com> 

Date: Sun, 5 Jul 1998 16:38:12 EDT 

To: fire@zmatrix.com, PJ@zmatrix.com 

Mime- Version: 1.0 

Subject: Fwd: PSI TECH CRV Copyrighted Manual 
boundary= M part0_899671092_boundary M 
X-Mailer: AOL 4.0 for Windows 95 sub 170 
X-UI DL: 002f3adea7189d5e828df79d33921alc 



Content-ID: <0_899671092@inet_out.mail.aol.com.l> 
Content-type: text/plain; charset=US-ASCI I 

Dear Ms. Ganier, 

A couple more items that you should be aware of: 

1. I do not make false threats 

2. The longer you leave our manual up the more fines you will have to pay. 

3. You will have to pay our attorney's fee's as well 

From: Self <PJ > 

To: JoniDourif@aol.com 

Subject: Re: PSI TECH CRV Copyrighted Manual 

Copies to: [PJ's HTML note: Paul Smith, Joe McMoneagle, Ingo Swann, and the ccjoni provided] 
Send reply to: palyne@zmatrix.com 
Date sent: Sun, 5 J ul 1998 15: 35: 15 

Dear Ms. Dourif, 

Please provide me in writing the legal evidence of your claim to owning this 
copyright and its superceding the 1986 copyright which is a part of the original 
document. I have seen that copyright page and it does not mention Psi-Tech 
anywhere. This is not surprising since Psi-Tech did not exist when the 
document was created. 

Of the six copies of the document I have, the one with a Psi-Tech cover and a 
copyright page bears the same copyright page as the original version—which 
does not give Psi-Tech any more right to use it than I, I should add, and in fact 
brings into question Psi-Tech's own right to utilize the manual in return for 
financial gain when they do not appear to own it. 

The manual was written by Mr. Paul H. Smith (and to a lesser degree 
apparently, Mr. Joseph McMoneagle), paid for by the Dept. of Defense, 
copyrighted to Mr. Ingo Swann (who gave permission, albeit verbal only) and 
credited to SRI-I nternational -- all this in 1986. 

If you can provide documents evidencing the copyright transfer to Psi-Tech of 
this document from the legal owner, which I assume from the original creation 
document's copyright page would be the Dept. of Defense or Mr. Ingo Swann, I 
would be more than happy to take it off my web site. 

I take legal matters very seriously and have no wish to violate any law, nor do 
I wish to trod on the ownership of anything which is rightfully yours. I simply 
do not see that you have a legal right to claim it as your own. Having talked 
with others present for, or participant in, the creation of the document, they do 
not really see this either. So I think I will wait until you provide such evidence 
to respond. 

You can send these documents to me via overnight mail at: 

PO Box 1539 
Boyd TX 76023 

And as soon as I receive them I will retract all publicly posted items from my 
public web site. 

PJ Gaenir 
pj@zmatrix.com 



[last update: 7:20am 06 July 1998] 



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