SUMMARY REMOTE VIEWING SESSION LVII

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900270001-4
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 22
• Document Creation Date: November 4, 2016
• Document Release Date: March 27, 2000
• Sequence Number: 1
• Content Type: REPORT

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ORCON/NOFORN
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INS CON
GRILL FLAME
PROJECT
SESSION REPORT
CLASSIFIED BY: Director, DIA
REVIEW ON: 30 Jun 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
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SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION LVII
1. (S) This report provides documentation of a remote
viewing session conducted for training purposes to enhance
a remote viewer's demonstrated ability.
2. (S) The remote viewer's impressions showed no objective
target correlation. The remote viewer was able to relax
very well and was not disturbed by ambient room noise, which
was minimal. He expended a great deal of effort to "behave"
during the session. So much so, that his motivation to do
well at remote viewing was not at its peak. The remote
viewer thought that he had done well until he visited the
target site after the session. He was not discouraged by
his lack of target correlation and looks forward to more
sessions.
3. (S) The protocol used for this session was a modification
of the protocol detailed in the document, Standard Remote-
Viewing Protocol (Local Targets) by Harold E. Puthoff and
Russell Targ, November 1978. This session's protocol was
modified in that a randomly generated preselected target
was not used. In lieu of a randomly generated, preselected
target the "beacon" simply chose a site which, in his opinion,
was unique and identifiable.
4. (S) Following is a transcript of the viewer's impressions
during the remote viewing session. At TAB A are drawings
made by the viewer reference his impressions of the target
site. At TAB B are photographs of the target site.
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TRANSCRIPT
REMOTE VIEWING (RV) SESSION LVII
TIME #28: This will be a remote viewing session.
PAUSE
#20.5 is now at the target site now. This
moment they're looking at the area. Taking
note of the target. Look around the site with
them. Focus your attention on that area.
#15.5: Hmmm. Really an odd object. This first image.
Something appears to be snapping and jumping as
if a filament of a light bulb would. It appears
to be tin. Two low towers. I've got no sense
of scale for this thing. Low. Now I'm drawing
a multiplicity of lines. Because the form that
the wire takes as it snaps back and forth is many
of these low curves. But its a real sense of
motion. And then through the distance into the
background there is another object which I'm going
to circle and pull out as if its a detail. I'm
going to try to.
PAUSE
And that's a sense of a rectilinear solid seen
in the distance. And, its got a curved element
on it. Now, Im tempted to say, that its something
like a radar screen mounted on a van. But I have
not got the sense of scale that I usually associate
in seeing things like this.
PAUSE
Okay, the second object is drawn and it is three
rectangular solids in relation to each other
as indicated. Two flat; one vertical. There
appeared to be. . . They appeared to be in the
juxtaposition of a bench. And the same proportion
+05 of a bench. But I appear to be up in the air
and looking up in the air. Order of magnitude. .
Ohhh. . . higher than standing, so call it eight
to ten feet. I'm putting "X" in the air and say
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ten feet above ground. Now, immediately added
something to that. So I'm going to do a drawing
and label it 2a. Because I think that the second
drawing is analytical. Where I had the same per-
ception of the thing being in perspective. But
then there is a wall composed of something like
bricks. Fill in later. That has a curve to it.
I can see the top of that curve. Let's see
(not audible) down like this. This (not audible)
. . There.
PAUSE
I'm still up in the air looking down. I'll call
+07 this Drawing Number 3. I'm up now, I'm up . . .
I seem to be up a little bit higher. Order of
magnitude, ten to twelve feet above the ground
and I'm looking down on a shape that I don't have
any particular understanding for except it looks
like a sheet metal duct entrance air intake.
PAUSE
Three. Perspective is pretty close. Shiney and
metallic. (Not audible). Or light colored. Put
down light blue with a question mark. So, if
they're up in the air and interacting with the
target, then the target has to be . . . The target
would seem logical to be the thing that they are
up in.
PAUSE
So, I think that you would like to have me look
around and see if I can see something of what it
is that they are in or on, right?
#28: Do you feel that you are in or on something? Or
are you simply in free space?
#15.5: No. I have the feeling that there is a mechanical
process for getting where I am. And I'm towing
along behind them like a balloon.
#28: You haven't reported to me that you are seeing
them.
PAUSE
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#15.5: Hmmm. That's an interesting observation and a
very good one, #28.
+09 If I'm not there I don't know where I am.
PAUSE
I'm going back and checking perception. For the
perception to see if I can get a definite feeling
of #20.5.
PAUSE
I just . . I guess the answer to the question is
when you tell me that #20.5 is at the target, to
go and see if I can be with #20.5, that seems to
be. . that's what I'm supposed to do. So, I have
a sense of being where I'm supposed to be. I don't
know whether that answers your question but that
seems to be the best answer that I can give you.
I don't. . . All right. Would you write down and
ask me this question afterwards, please. I don't
want to cut you off, but I don't want to lose the
target time either.
Just drawn a drawing. Unless its important, is
It important in the session?
#28: No. Go ahead.
#15.5: Okay, because that's a philosophical kind of thing.
+12 I'd like to get back to where I was. Okay.
Latest perception is of a wall which appears to
have some solidity to it. I'd say poured concrete
because it seems to have the vertical striations
to the left by a mold pattern. And above that
there appears to be a pipe as if the pipe is a
handrail that is above the wall. And I have the
feeling now that they've left the high place or at
least that I have left the high place and now I've
+13 gone down magically to a lower place.
Okay. So. . . I would put a line, I guess that's
a good idea, I'm putting a line on there that's
saying normal ground level. Oh, wait a minute.
And I'm putting indication that there is stairs
going down past this wall. But that may be
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analytical, analytical, analytical, analytical.
For stairs. But I just have the feeling that
I have circled around and I'm putting a curved
arrow on there. That I've circled around and now
I'm going down. That I've gone down, could be
below ground level. Slightly. Not as far below
ground level as I was above ground level.
PAUSE
I'm getting a bothersome problem which is a retinal
image of white paper on the clip board. There's
nothing much to do about that except think about
it at the end of the session.
#28: Use it as a screen to project your real images
on.
#15.5: That's a very excellent suggestion. Its too
bright. My images are not coming in that sharply.
#28: Turn up the volume of your projection.
#15.5: That's a darn good suggestion. Well, I don't
know what number I'm on here.
PAUSE
+15 Four, five. . . Okay, this one I don't understand.
But I get a set of a series of lines intersecting.
From left to right. It reminds me, because they
are curved, reminds me of the completion of a shuffle
riff. You know, how you shuffle cards by going,
snapping them down and by arcing them up. Okay.
This is the arc part where the cards are starting
to settle down into one deck.
PAUSE
That doesn't make a whole lot of sense.
PAUSE
#15.5: What's the time of day #28?
#28: Oh, about quarter after.
#15.5: So, from your request, you'd like to have me
go back to square one. Okay.
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#28: If I remember your first descriptions right
there was something about a motion having to do
with a very large (not audible) structures.
#15.5: Okay. The first motion was something which I
described as vibrating like the filament in a
light bulb. The old time filament in a light bulb.
I'm looking past that. I wonder if that could be
something that's blowing in the wind. I had the
feeling that the target was out of doors as opposed
to indoors. That they were in a structure that
had solidity to it. But that they were looking
out. Now, taking the latter perception, then
looking at this. . . at this object. . . I'm tempted
to say, you know, I'm up on some kind of an observ-
ation platform. And the purpose of the target seems
to be the structure that they are on. In other
words, if it was a building, the purpose of the
building would be the function of the building.
Okay. The reason for going to this place appears
to be the thing that they are on. And not a
commercial establishment or something like that.
PAUSE
Although it is possible that it would be a stair
tower in a shopping mall. Now, the nature of
what the thing could be at this point alludes me.
Do you want to ask me directive questions about
it?
#28: Okay. Um. . . I'd like you to . . I think that
you're correct in that you may not have been able
to see them because you were seeing with them as
it were. And that your attention is focused on
the target rather than on them. So you're seeing
with them which is perfectly all right. The first
question I have is are you alone at this place?
Are they alone at this place?
#15.5: Ah. . Okay. I sense. . I had no time at which
I sensed other people being in the immediate area
say, 12 to 15 foot, sphere around them. I had
no feeling that there was an interaction between
them and anyone else. Let me see if I see, if I
come back to that. . I don't know whether I like
the first target or not. I'm not sure of this.
But the second target, had a real, a more real
sense to it. So, for the second drawing (not
audible).
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#15.5: Stop it. I just don't see other people around,
interacting.
#28: Do I understand you to say the others are not
significant to the target?
#15.5: Not at this time. Its certainly a place that
people go. Let's see.
PAUSE
No. That's analytical guess. There are no
perceptions of other people at the target at
this time.
#28: Okay. Now, my next question is, is this object
which you described as something that you scanned
on or something that you can go up in and observe
and then there's a go down area and you go down
to. . . Is this object area, building, structure,
isolated or is it in a group of other structures?
PAUSE
#15.5: I have the feeling that I've only looked in one
direction. I have the feeling that there is
another. . . But I don't understand. All right.
In a sense that a staircase is usually, usually
only has windows on one side of it. That's
hypothisize. I have the feeling that I've only
looked in one direction because the other sides are
blanked out or blind or something like that.
PAUSE
If there is a structure. . . Now. . Um. .
PAUSE
Okay. I have the feeling that I've looked in
this direction and this direction and this
direction. But not in any of the other directions
and I think, it feels. . I need resistance when
I go back. So, I'm going to indicate that there
is something - Ill label that structure "T" because
I think that's the target. I'm going to indicate
that there is something to the left and behind in
this fashion. I ought to say left or behind.
Give myself three quandrants where there is some-
thing and say I think that there is definitely
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something in two of them. The third diagonal
quandrant I can't see. Does that make any sense
to you?
#28: Um hm.
#15.5: In other words I think that there is something
here and I think that there is something there.
This is the side that the wall is on. So I'm
going to annotate "W" for wall and that would be
drawing number whatever it is. La ta da. Four.
And the bench seems to be down in that area.
Either down in that area or down in this area.
So I have put two "B's" with circles.
#28: Now are they away from the target area then?
#15.5: Not, not more than six feet away.
#28: Okay.
#15.5: Okay?
#28: Okay.
#15.5: Next question.
#28: Okay, the next question is then, you described
apparently what the target looks like from the
eyes of the outbounders. .
#15.5: No sir, I have not.
#28: Oh, okay. You've got. . . Spinning myself around
you have described what the outbounder's are seeing
at the target.
#15.5: I'm looking at it.
#28: Yes. Okay. Now what I would like you to do is
alter your perspective and go out to those areas
that you were looking at, for example the bench
area, go out to the bench area, turn around and
look back.
#15.5: (Whistling).
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#15.5: This is a mile in the sky. Guess. I'm almost
positive that I'm filling in the blank with a
guess.
PAUSE
All right. But just in case its not, continue
the thought that I had in Drawing Number 4,
there's reinforced concrete, poured concrete
rather and that I have something of a stair
tower that goes, that goes the usual stair tower
routine. And that they were standing on different
landings of that stair tower. And I'm seeing it
from out and up. . . as requested by the interviewer.
About, would be point about 20 feet off the ground
and . . 50, 60 feet out. I still don't understand
that snapping filament.
I get a sense; I'm not sure that the drawing is
accurate to the perception that I have; of the
thing. I've indicated rounded corners because
it seems to have rounded corners in the perception
but its not a hard image. The only thing that I
get a strong feeling about is that they set up
boards and poured concrete in them. And I have a
feeling that it has . . it has. . levels to it.
Platforms, or as I described them, landings. Can
you give me another question?
#28: Okay. I only want to ask that perhaps you get
the image of the filament in your mind. Just
explore this first image here for a minute.
Think about whether or not that might be symbolic.
Think about whether its a visual communication
with some other symbolic meaning.
#15.5: Okay. The answer to your question is along the
lines that. . . I get a word transmission or a
thought which resolves itself into words which then
resolves itself into a picture. Is that the nature
of your question?
#28: Yes.
#15.5: Its certainly possible. For what you could make
out of the words "arcing filament" I don't know.
I can't imagine a filament, you know, would be
on the order of magnitude of two to three feet
long. So that I could see it in that detail.
In fact I don't think its possible. But the trans-
mission of the thought, first word was filament.
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#15.5: Vibrating. I think the first thing I said was
vibrating filament.
#28: Yes, you. ? ?
#15.5: Now, there is another possibility which occurs
to me in that which would duplicate the motion
and that is something like a couple of kids
standing there and turning a jump rope.
#28: Um hm.
#15.5: Except I didn't have kids. Ha ha.
#28: Um hm. Okay. Is this moving filament live?
Normally seen?
#15.5: Ah, are you asking. . . If you're asking me if
you can see it with a naked eye without magnifica-
tion, yeah, I think so. That's what bothers me
because its a large order of magnitude.
#28: Um hm.
#15.5: Its too large to be real.
#28: Um hm.
#15.5: Unless its a display of some sort.
PAUSE
I can't do anything with it other than that.
PAUSE
#28: Why don't you take a look now at the rest of
your pictures and see if they bring anything to
mind that you might want to add at this point.
PAUSE
#15.5: Ah. . . I have the feeling that there was a
fence or a wall beyond the object which I have
drawn in detail in Drawing Number 1.
PAUSE
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#15.5: That's really odd. I got this low arch that
moves. I get the feeling that is metallic.
I can't remember more of it than that.
PAUSE
Number 2, I just very carefully described as
something other than a bench. Let's call it a
bench. I've had more trouble with benches.
Number 3, could be an air intake of an air-
conditioner.
PAUSE
And the back rectangle could be the air conditioner
proper. Or, it could continue. I'm not sure of
that because, you know, the way something hard and
shiney will vibrate at. Number 4, yeah, Number 4
is inside that stair tower going down stairs. It
appears to have a handrail at the top. One of
these things you can look up and see the handrail.
That order of perspective.
PAUSE
Five, now five is an interesting possibility as
I look at it the second time. Those could be
stairs going in two different directions. This
would be the front edge of those stairs that I'm
seeing, you know, as you go up one staircase,
you perceive the other staircase through the wall
or something like that.
I didn't get that when I looked at that the first
time.
Six is a plan view, overall. Indicating directions
that I think that the objects are in. I had the
feeling that the one was about there. That's an
interesting idea.
Seven is a guesstimate of what the whole works
might look like.
PAUSE
I'm numbering where I think the objects relate to
the target.
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#28: But you're not calling any of those objects
the target. Do you think that the objects, the
target itself is (not audible)?
#15.5: I think that the object is the series of platforms
that you get on.
#28: Okay.
#15.5: That they have looked out from, but I'm calling
it stair tower because I. ? . I've got to call
it something.
Four is there. Five is internal. If there is
a drawing of the target at Five, the internal
part of the target, Five. Six and Seven.
PAUSE
#15.5: Okay, I've indicated a dotted line on Seven
because I'm out further than the edge of the
paper.
Very interesting exercise. I think there is
some validity to it.
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TAB A
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c 0,1,4
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1)(
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/
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TAB B
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