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AN HISTORICAL DOCUMENT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/
NEXT PAGE
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
NEXT PAGE
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
NEXT PAGE
C 0
0 R D
I N A T E
R E M 0
T E
VIEWING
1 MAY 1986
NEXT PAGE
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
NEXT PAGE
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.
NEXT PAGE
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
NEXT PAGE
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
NEXT PAGE
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!
NEXT PAGE
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
You can jump to:
c
D
E
F
G
J
K
L
M
N
Q
R
S
T
U
V
W
X
Y
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
Back to Firedocs Entrance
Back to the CRV Manual Entrance
COORDINATE REMOTE VIEWING
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]
Back to Firedocs Entrance
Back to the CRV Manual Entrance
So here's the problem. If you don't believe in God or an afterlife; or if you believe that the existence of God or an afterlife are fundamentally unanswerable questions; or if you do believe in God or an afterlife but you accept that your belief is just that, a belief, something you believe rather than something you know -- if any of that is true for you, then death can be an appalling thing to think about. Not just frightening, not just painful. It can be paralyzing. The fact that your lifespan is an infinitesimally tiny fragment in the life of the universe, and that there is, at the very least, a strong possibility that when you die, you disappear completely and forever, and that in five hundred years nobody will remember you and in five billion years the Earth will be boiled into the sun: this can be a profound and defining truth about your existence that you reflexively repulse, that you flinch away from and refuse to accept or even think about, consistently pushing to the back of your mind whenever it sneaks up, for fear that if you allow it to sit in your mind even for a minute, it will swallow everything else. It can make everything you do, and everything anyone else does, seem meaningless, trivial to the point of absurdity. It can make you feel erased, wipe out joy, make your life seem like ashes in your hands. Those of us who are skeptics and doubters are sometimes dismissive of people who fervently hold beliefs they have no evidence for simply because they find them comforting -- but when you're in the grip of this sort of existential despair, it can be hard to feel like you have anything but that handful of ashes to offer them in exchange.
But here's the thing. I think it's possible to be an agnostic, or an atheist, or to have religious or spiritual beliefs that you don't have certainty about, and still feel okay about death. I think there are ways to look at death, ways to experience the death of other people and to contemplate our own, that allow us to feel the value of life without denying the finality of death. I can't make myself believe in things I don't actually believe -- Heaven, or reincarnation, or a greater divine plan for our lives -- simply because believing those things would make death easier to accept. And I don't think I have to, or that anyone has to. I think there are ways to think about death that are comforting, that give peace and solace, that allow our lives to have meaning and even give us more of that meaning -- and that have nothing whatsoever to do with any kind of God, or any kind of afterlife.
Here's the first thing. The first thing is time, and the fact that we live in it. Our existence and experience are dependent on the passing of time, and on change. No, not dependent -- dependent is too weak a word. Time and change are integral to who we are, the foundation of our consciousness, and its warp and weft as well. I can't imagine what it would mean to be conscious without passing through time and being aware of it. There may be some form of existence outside of time, some plane of being in which change and the passage of time is an illusion, but it certainly isn't ours.
And inherent in change is loss. The passing of time has loss and death woven into it: each new moment kills the moment before it, and its own death is implied in the moment that comes after. There is no way to exist in the world of change without accepting loss, if only the loss of a moment in time: the way the sky looks right now, the motion of the air, the number of birds in the tree outside your window, the temperature, the placement of your body, the position of the people in the street. It's inherent in the nature of having moments: you never get to have this exact one again.
And a good thing, too. Because all the things that give life joy and meaning -- music, conversation, eating, dancing, playing with children, reading, thinking, making love, all of it -- are based on time passing, and on change, and on the loss of an infinitude of moments passing through us and then behind us. Without loss and death, we don't get to have existence. We don't get to have Shakespeare, or sex, or five-spice chicken, without allowing their existence and our experience of them to come into being and then pass on. We don't get to listen to Louis Armstrong without letting the E-flat disappear and turn into a G. We don't get to watch "Groundhog Day" without letting each frame of it pass in front of us for a 24th of a second and then move on. We don't get to walk in the forest without passing by each tree and letting it fall behind us; we don't even get to stand still in the forest and gaze at one tree for hours without seeing the wind blow off a leaf, a bird break off a twig for its nest, the clouds moving behind it, each manifestation of the tree dying and a new one taking its place.
And we wouldn't want to have it if we could. The alternative would be time frozen, a single frame of the film, with nothing to precede it and nothing to come after. I don't think any of us would want that. And if we don't want that, if instead we want the world of change, the world of music and talking and sex and whatnot, then it is worth our while to accept, and even love, the loss and the death that make it possible.
Here's the second thing. Imagine, for a moment, stepping away from time, the way you'd step back from a physical place, to get a better perspective on it. Imagine being outside of time, looking at all of it as a whole -- history, the present, the future -- the way the astronauts stepped back from the Earth and saw it whole.
Keep that image in your mind. Like a timeline in a history class, but going infinitely forward and infinitely back. And now think of a life, a segment of that timeline, one that starts in, say, 1961, and ends in, say, 2037. Does that life go away when 2037 turns into 2038? Do the years 1961 through 2037 disappear from time simply because we move on from them and into a new time, any more than Chicago disappears when we leave it behind and go to California?
It does not. The time that you live in will always exist, even after you've passed out of it, just like Paris exists before you visit it, and continues to exist after you leave. And the fact that people in the 23rd century will probably never know you were alive... that doesn't make your life disappear, any more than Paris disappears if your cousin Ethel never sees it. Your segment on that timeline will always have been there. The fact of your death doesn't make the time that you were alive disappear.
And it doesn't make it meaningless. Yes, stepping back and contemplating all of time and space can be daunting, can make you feel tiny and trivial. And that perception isn't entirely inaccurate. It's true; the small slice of time that we have is no more important than the infinitude of time that came before we were born, or the infinitude that will follow after we die.
I don't know what happens when we die. I don't know if we come back in a different body, or if we get to hover over time and space and view it in all its glory and splendor, or if our souls dissolve into the world-soul the way our bodies dissolve into the ground, or if, as seems very likely, we simply disappear. I have no idea. And I don't know that it matters. What matters is that we get to be alive. We get to be conscious. We get to be connected with each other, and with the world, and we get to be aware of that connection and to spend a few years mucking about in its possibilities. We get to have a slice of time and space that's ours. As it happened, we got the slice that has Beatles records and Thai restaurants and AIDS and the Internet. People who came before us got the slice that had horse-drawn carriages and whist and dysentery, or the one that had stone huts and Viking invasions and pigs in the yard. And the people who come after us will get the slice that has, I don't know, flying cars and soybean pies and identity chips in their brains. But our slice is no less important because it comes when it does, and it's no less important because we'll leave it someday. The fact that time will continue after we die does not negate the time that we were alive. We are alive now, and nothing can erase that.
