Phase 3 consists of drawing a sketch guided by the intuitive feelings
of the viewer. These can be spontaneous sketches of the target, but
they also can be somewhat analytical, based on what was perceived
earlier in the session. The sketches can sometimes be detailed,
graphical representations of the target, but often they are more
like pictorial symbols, partially descriptive but also symbolic of
the target's complexities. Trainees are encouraged to refer back to
the Phase 2 magnitudes in order to assist in the drawing of the
Phase 3 sketch. Advanced viewers sometimes refer back to both Phase
1 and Phase 2 data.
To begin, the viewer obtains a new piece of paper, places the page
number in the upper right-hand corner of the page, and writes "P3"
centered at the top of the page. The paper is normally positioned
lengthwise (the long side is horizontal). The viewer then begins to
draw by quickly feeling around the page. The intuitions will suggest
lines or curves at various positions. The beginning viewer is told
not to edit out anything, but just to draw the lines as he or she
feels them to be.
I once had a student who would simply not draw anything for the
Phase 3 sketch. After I repeatedly encouraged him to sketch
something, he finally looked at me and declared that he knew it
could not be correct, but he could not get the idea out of his mind
of a circle with what appeared to be many lines
originating from the center of the circle and radiating outward. He
then drew the sketch in order to show me what he meant. As it turned
out, the sketch was a nearly perfect representation of the roof of a
circular building that was the center of the target. The picture of
the building that was being used to identify the target was taken
from an elevated angle, and this viewer's sketch matched the angle
and perspective exactly.
With Phase 3 sketches, the viewer need not understand what the
sketch represents. As a general rule, it is impossible to know
exactly what it represents. You can have an idea that there are
people and a structure in the sketch, but you can never be certain.
At best, you can only say that you feel there are lines here, curves
there, and so on. Often simple drawings of people (i.e., subjects)
or their ideograms are found in Phase 3 sketches. We never assume
that such things really are subjects. At this point in the session,
we know only that the drawings look like ideograms or sketches
After drawing any initial aspects of the sketch, viewers often run
their hand or pen over the paper a couple of times (without actually
contacting the paper). Doing so can give viewers a feel for where
other aspects of the target are located. Viewers should quickly add
these additional lines to the sketch. Beginning viewers are often
seen moving their hands over the paper in clear pat-terns without
ever drawing in these patterns.
This is another editing-out problem.
Many beginning viewers also move their hands in front of their
faces, as if feeling a target. Novices nearly always fail to record
these movements on paper, and have to be encouraged to do so. For
example, if the target is a mountain, many students have been
observed moving their hands in front of their faces tracing out the
outlines of the steeply sloped mountain, even to the point of
outlining the rounded or pointed peak of the mountain.
After finishing, students should look back at the dimensional
magnitudes recorded at the end of Phase 2. Sometimes a glance at
these magnitudes will trigger the sense of additional areas that
need to be included in the drawing. For example, sometimes a student
will write "tall" or "towering" as a vertical dimensional magnitude.
Checking the Phase 3 sketch, the student may then perceive where
this tall or towering thing is, and include it in the drawing.
In general, Phase 3 sketches are drawn rather quickly. Later, in
Phase 5 (or in advanced versions of Phase 4), it is possible to draw
meticulous and extended sketches. But the Phase 3 sketch normally
has a sense of rapid data transference of initial impressions, not
exacting drawings of the finer details. To spend too much time with
details at this early point in the session would invite the
conscious mind to begin interpreting the diagrammatic data. As an
approximate rule, no more than 5 minutes should be spent on a Phase
3 sketch. A good Phase 3 sketch often takes less than a minute.
In Type 4 data situations, when the monitor knows the identity of
the target, the monitor should interpret at least the basic aspects
of the Phase 3 sketch immediately (while the session is still in
Listed here are a few useful interpretive guidelines.
• Perpendicular and parallel lines normally represent
structures or aspects of such structures.
• Wavy lines often suggest movement.
• People ideograms usually represent people.
• There is no way to estimate size with a Phase 3 sketch. For
example, a circle could represent a golf ball or a planet.
• Some lines tend to represent land/water interfaces (where land and
water meet, as on a coastline).
• Some lines tend to represent air/water or air/land interfaces.
Again, these interpretive guidelines are for the monitor's use
during the session. Viewers should not try to use these guidelines
to interpret a Phase 3 sketch on the spot. Viewers must concentrate
only on recording the lines that represent or reflect the various
aspects or parts of the target. After the session is completed, the
viewer can spend as much time as needed interpreting the data in
the sketches and elsewhere.
Back to Contents
Some of the most useful and descriptive remote-viewing information
is obtained in Phase 4. It is impossible, however, to enter Phase 4
without first completing Phases 1, 2, and 3. Phase 4 works only
after strong contact has been made with the target.
In Phase 4, remote viewers work with a data matrix. Each column of
the matrix represents a certain type of data, and viewers probe
these columns to obtain data. Phase 4 always begins with a new sheet
of paper. The paper is positioned lengthwise. The viewer puts the
page number in the upper right-hand corner and then writes "P4"
centered at the top of the page.
The nine column identifiers of the Phase 4 matrix are written across
the page from left to right. The first three columns repre-sent data
of the Phase 2 variety. The first represents data relating to the
five senses of hearing, touch, sight, taste, and smell. This column
is labeled with an S. The next column, labeled M, represents Phase
2 magnitudes. The third column is labeled VF, which represents
The fourth column, not based on any of the earlier phases, is
labeled E, which stands for "emotionals." Any emotions that the
viewer perceives as originating from subjects at the target
location are clearly emotionals. But the category can include much
more. When intense emotions are experienced at a site, individuals
commonly perceive these emotions even long after the fact.
said that General Patton was able to feel intuitively the emotions
of battle in an area even if the battle took place centuries
earlier. Furthermore, some people feel "funny" about a site be-cause
of something that is to happen there in the future, not in the past.
Thus, places vibrate with the emotions of events that have happened
or will happen. In the slang of the day, certain places have
For example, if a remote viewer is sent to the location of the Nazi
concentration camp of Auschwitz at the current time, the viewer
would normally perceive the buildings, the beds, the idea of a
museum, and so on. But the viewer might also perceive the emotions
of pain and suffering as relating to the site. Some viewers,
depending on the flexibility allowed them, would be able to follow
the emotions back in time to locate the origin of these feelings.
The emotionals column is placed next to the column for viewer
feelings to help the viewers distinguish between these two types of
emotionally related data. Viewer feelings are not the same as
feelings perceived from a target, and the two should not be
The next column describes physical things. These data can include
perceptions of people, buildings, chairs, tables, water, sky, air,
fog, planets, stars, vehicles, or anything else. The column for
physical data is labeled P.
Some things are real but not physical. Remote viewers often perceive
nonphysical things, such as beings, places, and so on. All of these
nonphysical things exist in subspace. For example, a person without
a physical body is real. Our souls are subspace entities, and when
our physical bodies die we are no longer composite beings with
physical and subspace aspects "glued" together.
The subspace realm
is at least as complex as physical reality Basically, remote viewers
have perceived that everything that exists in physical reality also
exists—plus much more— in the subspace realm. Since remote viewers
are using their subspace minds to collect data, it is natural that
some of what is
perceived will relate to the subspace realm. To differentiate
clearly between physical data and subspace data, the subspace column
is placed adjacent to the physicals column, and it is identified
with the heading "Sub."
Novice remote viewers need practice viewing targets that have a
large degree of subspace content or activity in order to be-come
sensitive to subspace perceptions. This normally begins in the first
week of training, but this exposure is continual, and improvements
in perception follow a normal learning curve relating to how often
Data entered into the subspace column are exactly analogous to data
entered into the physicals column. Subspace "things" are like
physicals; they are just in subspace. If a viewer perceives other
data that are subspace-related, but not "things," then the viewer
places an S in the subspace column and then enters the data into the
correct column at the same horizontal level as the S. This allows
the analyst to differentiate between subspace and physical-related
data entries that occur through-out the matrix. For example,
emotions of subspace beings would be entered in the emotionals
column, with an S being placed in the subspace column at the same
horizontal level as these data.
The next column is for concepts, and it is labeled C. Concepts are
intangible ideas that describe a target, but that do not relate to
the five senses. All of the Phase 1 primitive and advanced
descriptors are concepts, as are ideas such as good, bad,
important, insignificant, inspiring, dangerous, safe, haven, work,
play, fun, drudgery, adventurous, enlightening, attack,
evolutionary, de-graded, supported, healing, altruistic, evil,
sinister, saintly, and soon.
The final two columns in the Phase 4 matrix correspond to two
different types of deductions. The first is called a "guided
deduction." A guided deduction is identical to a deduction except
that the viewer actually probes the matrix in order to obtain the
deduction. Reasons for doing this are explained in the following
section on probing. The guided deduction column is labeled GD. The
final column of the Phase 4 matrix is the deductions column, and it
is labeled D.
To summarize, the Phase 4 matrix is:
S M VF E P SUB C GD D
Probing the Matrix
To probe the Phase 4 matrix, the viewer touches the tip of the pen
in the appropriate column. Probing is delicate and should be
performed with care. The pen should stay in contact with the paper
for about a second. During that time the viewer perceives some
information, usually—but not always—related to the column heading.
If the pen's contact with the paper is too brief, then a
sufficiently deep impression of the target will not have been made
on the conscious mind. If the contact with the paper is too long,
then the viewer risks having the conscious mind interfere.
After removing the pen from the paper, the viewer mentally searches
for a word or brief phrase that describes the perceived information.
This process is referred to as "decoding" the target perceptions.
The viewer must decide on this word or phrase quickly rarely more
than three to five seconds after the probe. The viewer writes this
description (usually one word) in the appropriate column.
Sometimes the viewer perceives a number of things when probing one
column. When this happens, the viewer enters these data into the
appropriate columns regardless of the column that was originally
probed. For example, all emotional data go in the emotionals column,
even if the emotional data are perceived when probing the physicals
When initially working the Phase 4 matrix, probing proceeds from
left to right, skipping over the viewer feeling and deduction
columns (explained in the next section). Viewers do, however, probe
the guided deduction column. After probing a column, perceiving and
writing something about the target, the viewer moves the pen down a
bit before probing the next column.
This results in a diagonal
pattern of entries down the page. If a viewer perceives two or more
pieces of related data, then the viewer places each of these in
their appropriate columns at the same horizontal level, that is,
without dropping down. For example, say a viewer perceives a brown
structure. The word "structure" goes in the physicals column, and
the word "brown" goes in the senses column, both at the same level.
Placing related data on the same level is essential for interpreting
the data after the session is completed. If the viewer drops down a
line after writing "brown" in the senses column and before writing
"structure" in the physicals column, then the analyst would not know
that it is the structure that is brown, per-haps concluding that
something else at the target site is brown. Data can only be entered
in a process that moves horizontally and down the page, never up. If
the viewer at first only perceives a structure, then only the word
"structure" would appear in the physicals column.
However, if the
viewer again perceives the same structure later in the session, but
this time the color of the structure is also perceived, then the
viewer again writes the word "structure" in the physicals column,
but this time together with "brown" in the senses
column at the same horizontal level.
Entering Viewer Feelings and Deductions
Viewer feelings are entered into the Phase 4 matrix only when they
are felt. Viewer feelings are not data about the target; they are
the subjective feelings of the viewer about the target. If
undeclared, they will fester and contaminate the data still to be
collected. Declaring them in the matrix removes their influence
from the data flow.
Viewer feelings are entered into the viewer feeling column by first
writing "VF—" followed by the feeling. For example, "VF— I feel
happy," or "VF—This makes me sick." After declaring a viewer
feeling, the viewer must put his or her pen down momentarily, as
done in Phase 2.
Viewer feelings can happen at any point in Phase 4. Typically,
viewer feelings manifest after probing either the emotionals or
physicals columns. After a viewer feeling occurs and is recorded,
the viewer returns to the point of last probing to continue the
Deductions are similar to viewer feelings in the sense that they can
occur while probing any column. Whenever a deduction occurs, the
viewer declares the deduction immediately by moving to the
deductions column and writing "D-" followed by the deduction. As
with a viewer feeling, the viewer should put the pen down while the
Guided deductions are exactly the same as deductions, except that
they occur when probing the guided deductions column. While probing
the matrix, the subspace mind knows that pressure is building in the
conscious mind to attempt to deduce the identity of the target.
Knowing this, the subspace mind can often ease the pressure by
guiding the deduction out of the conscious mind at the correct
By probing the guided deductions column, the viewer can rid
the mind of the deduction at an early stage of its formation. This
helps smooth the flow of the data and minimize the risk of having a
developing and as yet un-declared deduction begin to influence the
real data. One does not write "GD-" in front of the guided
deduction, but does put the pen down after declaring it.
Remember that the subspace mind is still in control of the session
when a guided deduction is declared. This is not the case with a
normal deduction. With a deduction, the conscious mind interrupts
the flow of data and inserts a conclusion relating to the meaning
of the target or an aspect of the target. The subspace mind has lost
control of the session at that point. With a guided deduction, the
subspace mind does not lose control because it is "guiding" the
removal of the deduction. Probing the guided deductions column
allows this removal to be accomplished.
High- and Low-Level Data
One of the most crucial aspects of Phase 4 is differentiating
between high- and low-level data. High-level data involve attempts
to label or to identify aspects of a target. In the subspace realm
of existence, information is not conveyed through words, but rather
through direct knowledge gleaned from visual, sensory, conceptual,
emotional, and other impressions. Indeed, this is the essence of
telepathy—direct awareness of an-other's thoughts. Words are needed
in the physical realm in order to convey meaning through speech or
writing. If our words convey entire concepts, then we are describing
something at a high level of identification. On the other hand, if
we describe only the characteristics of what we perceive, we are
working at a low level.
The difference is best shown through examples. If a target is an
ocean shoreline, a remote viewer would likely perceive aspects of
the target such as sand, the feeling of sand, wind, water, wet-ness,
salty tastes, waves, the smell of lotions, and grass. These are all
low-level descriptors of the target. High-level descriptors could be
beach, ocean, shoreline, lakefront, tidal wave, and so on. The
problem with high-level descriptors is that they are often only
partially correct, whereas low-level descriptors are normally quite accurate.
The general rule in Phase 4 is to enter all or most high-level
descriptors in the deductions column, reserving the data columns for
low-level data. In the above example regarding the shoreline, an
analyst studying the data would have no trouble identifying the
low-level aspects as waves and possibly sand dunes. On the other
hand, using the high-level data suggested above, the viewer could
have been tempted to follow a story line created by the conscious
mind of large waves, perhaps leading to a fabricated disaster
Entering high-level data in the Phase 4 matrix is very risky Trainee
viewers often want to obtain high-level data to demonstrate that
they can identify the target. Yet novices should never try to obtain
high-level data. You can describe nearly the entire universe using
low-level data. In short, when we do remote viewing, we want to
describe the target, not label or identify the target or its
For example, if the target really is a tidal wave, then the
viewer is safer describing a large wave, heavy winds, lots of
energetics, destructive force, the concept of disaster, and so on.
If the viewer thinks of a tidal wave, that idea can be entered as a
deduction even though it exactly identifies the target.
To further clarify the difference between high- and low-level data,
the following are some examples of each. In each case, it is safer
deducting the high-level data while entering the low-level data
elsewhere in the Phase 4 matrix. Maintaining a consistent stream of
descriptive low-level data is perhaps the single most important
criterion affecting the overall quality and usefulness of the
Most data that are entered in the Phase 4 matrix are single words
placed in the appropriate columns. However, sometimes the remote
viewer needs to say more than can fit in a column. This typically
results after the viewer has recorded a number of low-level data
items that he or she later feels to be connected in some way. A
longer data entry that acts to organize or collect a number of
separate gestalts is written as a P4½.
This begins on the left
side of the Phase 4 matrix. The viewer writes "P4½" followed by
a sentence or phrase, writing from left to right across the page. A
P4½ entry is rarely more than one sentence, as this is to be
avoided. It is better to write two or more P4½ entries sequentially than to attempt to write an extended discussion of the
data. Entries that are too long risk shifting from recording perceptions to conscious-mind analysis.
Advanced remote viewers find P4½ entries most useful, especially
after they have established thorough target contact. However,
novices must watch out since they tend to use P4½ entries
indiscriminately. Evidence of this is typically the appearance of a
P4½ entry that is not immediately preceded by a number of related
single-word entries in the appropriate columns. Thus, the P4½
entries should ideally relate to and organize already perceived
data, and they should definitely not appear to come "out of the
A P4½ S is the same as a P4½, but it is a sketch rather than a
verbal description. When the viewer perceives some visual data in
Phase 4 that can be sketched, the viewer writes "P4½ S" in
the physicals or the subspace column, depending on whether the
sketch is to be of something in physical reality or subspace
The viewer then takes another piece of paper, positions it
lengthwise, labels it P4½ S centered at the top, and gives it a page
number that is the same as the matrix page containing the
column entry "P4½ S" with an A appended to it. Thus, if the entry
for the P4½ S is located on page 9, then the P4½ S sketch is
located on page 9A.
THE "BIG THREE" AND "WORKING THE TARGET"
1. Probing the Matrix "Raw"
Probing the Phase 4 matrix has three distinct stages. When first
entering Phase 4, the viewer simply probes the matrix as de-scribed
earlier. This is referenced as probing the matrix "raw." Novices are
instructed to obtain at least two pages of Phase 4 data, in order to
prevent the viewers from giving up too easily.
Beginning viewers are
usually quite skeptical about their own data at first. Since this
skepticism is rooted in the conscious mind, it is not a serious
concern during training. Indeed, having the conscious mind
preoccupied with skeptical thoughts can be a real advantage for a
novice, since it clears the way for the subspace mind to slip the
data past the reviewing processes of the conscious mind.
Working the Target
Advanced remote viewers treat their entry into Phase 4 as a means of
obtaining crucially important information about a tar-get. This
requires them to continue longer in Phase 4 while they "work the
target," the process of following a subspace signal intuitively
through all of its leads. Viewers obtain a rich collection of
data by "looking around," so to speak. If they find a structure,
their intuitive sense tells whether it is important to know more
about the structure.
They describe it more thoroughly
moving inside the structure when needed to complete the
description. The viewers describe the surface on which the
structure is located. They may
also describe the physical activities of the people outside and
inside the structure, even locating a significant person who may be
crucial to resolving the target cue. All of this is felt through
strong intuitive tugs that direct the viewer's awareness in the
Working the target also includes
tying together low-level data in P4½ entries. When a viewer works a target, the viewer typically
perceives some physical item and describes this item in low-level
terms. This observation leads to another related observation, which
in turn leads to another, and so on. After a sufficient number of
low-level observations have been made, the viewer begins to "connect
the dots," so to speak. A statement that pulls it all together, made
as a P4 Vi entry, is itself a low-level description of the target
or a fragment of the target. The statement does not label the target
For example, let us say that a viewer perceives wind,
energy, extreme force, small flying pieces, and a vortex, all of
these things being entered in the columns of the Phase 4 matrix. The
viewer could then state the following P4½. "Windy circular energy
in a powerful vortex containing lots of small flying pieces." The
viewer could also declare a deduction of a tornado. The word
"tornado" is high-level, since it clearly labels the phenomenon. The
description in the P4 Vi entry remains low-level, even though it
ties together other low-level data entries. The viewer then
continues on to the next group of objects in a similar fashion. This
is the classic method of working the target.
2. Returning to the Emotionals
After a while the flow of data will slow, and further working of
the target becomes repetitive and unproductive. The viewer must
then execute the second of the "Big Three" matrix processes. Even though
the viewer has been regularly probing the emotionals with each
horizontal pass through the Phase 4 matrix, a special trip back to
the emotionals column often restarts the data flow.
The reason is
that the viewer's attention has been on various aspects of the
target, and the emotionals data perceived earlier may have been
related to those aspects, such as the sense of anger that resulted
from an argument that took place within a structure. Returning
specifically to the emotionals column for a special probing allows
the subspace mind to shift its attention to other emotional data
that could be more generally related to the target.
For example, let us say the remote-viewing target is the hostage
crisis in Peru that began in December 1996. In this case, a group of
Marxist guerillas attacked Japanese embassy facilities in Peru and
held a large number of hostages until a Peruvian commando raid
rescued nearly all of them in late April 1997. In the initial
approach to the target, a viewer may perceive fear among the
hostages as well as aggression among the guerillas.
The viewer may
describe two group s of people in a structure, with one group
controlling another. After the data flow slows, the viewer returns
to the emotionals column and probes it again. This time the viewer
might perceive emotions of concern and concentration. This leads to
perceiving the concepts of making a plan, waiting, rescue,
high-level political involvement, and a commando operation.
viewer may also begin to perceive other people related to the
target, such as a central figure (deducting a president), people
with uniforms (deducting military personnel), and all this within a
foreign setting (deducting Latin America). Note that the word
"deduct" is used in the sense that it is a deduction being removed
from the data flow.
Data for emotionals often lead to other physical and
data. This is because the emotions of people at a target site tend
to reflect what is happening around them, which in turn is grounded
in their physical setting. Returning to the emotionals
column also helps avoid what is known as the "door-knobbing" problem,
in which the viewer focuses on one aspect of the target (such as a
doorknob) while missing the broader picture (such as what else is
going on in a room). Once the data flow is reinitiated, the viewer
continues to work the target in the same manner as before.
3. Probing the Phase 3 Sketch
After restarting the data flow by returning to the emotionals
column, the collection of data will eventually begin either to slow
or to become repetitive as before. At this point the viewer returns
to the earlier Phase 3 sketch and begins to probe various aspects of
the sketch. Remember, when the viewer does the Phase 3 sketch, it is
impossible to know exactly what it represents.
However, it does
represent the viewer 's initial visual impression of the target,
especially with regard to the arrangements of lines and shapes.
By placing the point of the pen in various locations of the
sketch—probing—the viewer is shifting the focal point of his or her
awareness around the target location. This al-lows the viewer to
reinitiate the flow of data once again, and the viewer returns to
the Phase 4 matrix to enter the data in the appropriate columns.
When probing the Phase 3 sketch, the viewer is not trying to label
or identify specific features of it, although these can be
de-scribed in low-level terms. More generally, the viewer is simply
using the sketch to obtain other low-level data by shifting his or
her attention from one location to another. Viewers can probe lines
in the Phase 3 sketch, resolving some of their meaning using the
primitive and advanced descriptors of Phase 1. This is a good way of
determining if there are structures or beings at the target site if
this has not already been determined.
The viewers can also look for the following interfaces in a Phase 3
sketch: land/air, land/water, air/vacuum, land/ vacuum, air/water.
This is very helpful in determining various geographical features of
the target site. For example, let us say that the viewer has
determined that a structure at the target site is located on top of
a flat surface.
If the viewer probes below the structure and finds
water, and then probes above the structure
and finds air, the viewer then knows that the structure is floating
on water and is probably a boat (which is a useful deduction). If
the viewer determines that there is a structure in the Phase 3
sketch, and that the structure has air inside and vacuum above and
below the structure, then the structure is most likely in space
("spacecraft" would be a deduction).
If the structure is on a flat
surface, and the surface is hard and natural (and thus land), and
above the structure is air, then the viewer knows that the target
involves a structure on flat land. If the viewer probes on both
sides of a line in the Phase 3 sketch, finding water on one side and
dry land on the other, the viewer knows that the target involves a
land/water interface, and may deduct a beach.
The basic mechanics of cuing involve the viewer writing a word in an
appropriate column (in either parentheses or brackets) and then
touching the word with the pen. The word written in the column is
the "cue." Using the pen to touch the word focuses the attention of
the subspace mind on target aspects relevant to the cue. The
resulting stream of data are then entered into the matrix in the
appropriate columns below the cue.
Words that originate from the viewer's own data are entered in the
appropriate column in parentheses (). Cues originating from a
monitor, or not from a viewer's own data, are entered in square
brackets [ ]. If the monitor's word(s) are used to construct a cue,
then the cue should be non-leading and closely tied to the viewer's
existing data. For example, if a viewer perceives a building, the
monitor may suggest that the viewer cue on "activity" by writing
the word in square brackets in the concepts column, then probing the
word and entering the resulting data in the appropriate columns of
There are three types (called "levels") of movement exercises. All
levels can be performed after spending some time in Phase 4.
These exercises essentially return the viewer to a modified form of
Phase 1. An ideogram is drawn and decoded, and the person returns to
Phases 2 and 3 before arriving again at Phase 4. This is done for
one of two reasons. If the monitor is concerned that the viewer may
have wandered off target, a level-one movement exercise nearly
always returns the viewer to the target. The other reason is that
the viewer may need to relocate to another area related to the
target that may be substantially different from the area being
probed so far. The new Phase 1 through Phase 3 information may help
the viewer differentiate between the two target-related sites.
These cues are written from left to right across a Phase 4 matrix.
Usually a half page is needed; otherwise, a new piece of paper is
used. The Phase 4 matrix does not need to be rewritten on the new
paper, but do include the page number. Immediately after the viewer
writes the cue, the viewer places the point of the pen to the right
of the cue and draws an ideogram. The ideogram is then decoded in
the manner of all Phase 1 ideograms. Only one ideogram is used in a
level-one movement exercise before moving to Phase 2. The following
is a list of cues used for level-one movement exercises, beginning
with the most common:
1. "From the center of the target (or target site, target
something should be perceivable." Most level-one movement exercises
use this cue, especially for the first such exercise.
2. "From 1,000 feet (or an alternative lengthy distance) above (or
to the north, south, east, or west) of the target, something should
be perceivable." This cue should be used only if it is unclear where
the viewer is relative to the surrounding (viewed) environment.
This cue should only rarely be the first level-one movement exercise
since it essentially moves the viewer away from the center of the
target, which is usually the most important part of the target.
3. "Immediately to the left (or right, in front of, behind) the
target, something should be perceivable."
4. "From the center of the target
area (or site), the target person
(or object) should be perceivable."
5. "From inside the structure, something should be perceivable."
Level-two movement exercises are used to move the viewer from one
location or target-related item to another without the viewer having
to leave Phase 4. This exercise is not such a total break as a
level-one movement exercise, but neither is its shift in focus as
subtle as a level-three exercise. The cue is essentially the same
regardless of the situation, with only locational words being
changed. Here is the cue:
"Move to the [new target location or item] and describe."
In this cue the "new target location or item" should originate from
the viewer 's own data. The monitor normally does not insert his or
her own words here, except to focus the viewer 's attention on some
particular generic component of the target. For example, the "new
target location or item" can include phrases such as "target
subject," "target subjects," "target object," and soon.
The level-two cue is written across the body of the Phase 4 matrix,
from left to right. The viewer then continues to enter data in the
same matrix in the normal fashion after writing the movement
exercise cue. There is no ideogram in this exercise. How-ever, I
personally find it useful from time to time to probe the last letter
of the word "describe" in the level-two cue in order to re-focus my
A level-two movement exercise can be temporal as well. This exercise
cue follows the following format:
"Move to the time (or period) of [temporal identifier here] and
In this cue, the temporal identifier must be clearly connected to
the viewer 's earlier data. For example, if the target is a pyramid
in Egypt and the viewer describes a pyramid structure, the monitor could give the cue: "Move to the period of construction for the
structure and describe."
This is the most subtle of the three movement exercises. It shifts
the viewer's awareness without breaking the previous flow of data.
The movement is executed by placing a very brief cue (usually only
one or two words) in the appropriate column of the Phase 4 matrix
and then having the viewer touch the cue with the pen and begin
entering data. The cue can be a word originating from the viewer,
entered using parentheses ().
If the cue originates from the
monitor, square brackets [ ] are used. Cues originating from the
monitor should be used only rarely in Phase 4, and if used, should
be of the most generic variety.
For example, the viewer perceives two beings—a male and a
female—separated by say a road. The viewer could move from the male
to the female by putting "(female)" in the physicals
probing this with the pen, and then continuing with the collection
of data in the Phase 4 matrix.
One particularly interesting level-three movement exercise is a deep
mind probe. In this the viewer enters the mind of a person in order
to obtain thoughts and personal character information. There is an
ethical component to this exercise, though. The sub-space mind of
any person being remote viewed will be aware of this activity even
if the person's conscious mind is not. This is yet another reason
why I recommend that all remote viewers meditate regularly in order
to remove as much of their own stresses as possible before entering
the mind of someone else. It is mandatory to do no harm while
A deep mind probe is performed by writing "[target person]" in the
physicals column and "[deep mind probe]" in the concepts column. The
viewer then touches each of the words in each phrase once with the
pen, and enters the relevant data in the matrix, usually in the
emotionals and concepts columns.
A level-three temporal movement exercise can be obtained by using
event- or action-related cue words. These cues need to be clearly
connected to the viewer's data. Such cues are entered in square
brackets [ ] in the concepts column in the Phase 4 matrix. In introductory and
intermediate remote viewing courses,
"activity" is normally the most frequently used temporal level-three
There are three other chapters included as Appendices 1, 2, and 3
containing technical material for advanced SRV procedures. The
first chapter deals with specialized procedures that are used in
Phase 5 of Basic SRV. The second chapter explains Enhanced SRV,
which is a highly interactive and flexible form of the protocols,
while the third chapter describes procedures used to analyze
Back to Contents
DEATH ON MOUNT EVEREST
Climbing Mt. Everest is one of the most dangerous adventures known to
man. Many have died in the climb, and it is not un-usual for even
veteran climbers to encounter a life-threatening situation, such as
a sudden storm, or just bad luck. When death approaches a climber on
those steep slopes, there are nearly al-ways moments for reflection,
time to ponder the wisdom of one's actions.
Within the consciousness
of those moments resides a telling truth, a blunt realism. To
witness this realism, this deep awareness of what one has done
without the illusion of grandeur to cloud the vision, is to witness
a moment of consciousness in a state of great purity. When some die,
they may feel alone, with no one to share their last moments of
Yet situations do occur in which those who die
unknowingly share these moments with a witness of the soul.
15 May 1997
Protocols: Basic SRV
Target coordinates: 6861/2306
My first ideogram feels hard and man-made. Yet there is
something unusual about it, and I declare that the ideogram
rep-resents land. My second ideogram is again hard and man-made, but
it is a shape that is typical for a structure. The third ideogram is
similar to the second, but it feels hard and natural. I deduct the
idea of a mountain.
I perceive airy sounds, like that of wind. The textures at the
target site are rough and rocky. The temperatures are cold, and I
deduct Mt. Everest. There are colors of blue, white, brown, and tan.
The level of luminescence is bright with high contrasts. I taste
something salty, like sweat, and again deduct Mt. Everest. The air
has the smell of ozone. The air is thin and smells fresh. The
magnitude of the dimensions are tall and towering verticals, wide
and expansive horizontals, long sloping diagonals, and heavy mass.
There is a moderate level of energetics at the target site. My Phase
3 sketch resembles a mountain covered with something like snow at
the top. I deduct a volcano on my sketch.
In Phase 4 I perceive bright white and blue colors, and I deduct
snow. The contrasts are very high. Again, the textures seem rough
and rocky. The magnitudes are clearly tall and towering, and the
air seems thin. I am detecting the mental flavor of consciousness at
the target site. There are subjects, and I deduct "climbing a
mountain." There are rocks, a path, and I sense the concept of
passage. Within the subspace arena, I detect interest. This target
is associated with the concept of achievement. "Climbing Mt.
Everest" emerges as a guided deduction.
Bright white light is everywhere, as is the sense of something tall
and towering. The concept of achievement is mixed with the
emotions of thrill and tension. The subjects are wearing rough
clothing, like jeans. The clothes feel like they are sturdy and
rough, the type needed for rugged outdoor activity or work.
perceive that the subjects are male. There is a group involved with
an expedition. There is a male leader in the group. I deduct the
ideas of hiking, backpacking, and a mountain. I again perceive
clothing, rocks, a narrow path, and trees. I do not perceive a
structure in my current position at the target.
This target is associated with a variety of overlapping concepts.
Here there is achievement mixed with the ideas of striving and
overcoming hardship and difficulty I have a guided deduction of
Focusing on the target subjects, I perceive that they are trying to
concentrate, to keep their minds focused. They are having
difficulty thinking, the way someone would if there was not enough
oxygen to breathe. Their minds wander, and they forget. Conquering
the problems with their minds is a challenge to them. They are
working to achieve a goal. I feel subspace emotional energy that is
supportive of these activities, but not in the essential "this must
happen" sense. The bright light of the sun, the tall towering
magnitudes, the difficulty in concentrating, the determination of
the subjects, all these are mixed together.
I execute a collective deep mind probe on the target subjects. These
people need to do something for their own sake. This is very
important to them. It is not a life-and-death issue, but it feels
like that in their own minds. They seem to have made it a
While the emotions of the target group contain both tension and
fear, there is also suppressed exhilaration. The group is worried
about shelter and supplies for some project. I deduct pick-axes,
small shovels, and a tent. I also deduct that the group is on a
Returning to my Phase 3 sketch, I find the air thin and cold.
Indeed, it is freezing here. There is human occupation far below,
and I deduct farms and villages. I also perceive that something is
hot at the target site. Cold is everywhere at the top of the
mountain, but hot is localized somewhere else. I conclude that the
target appears to contain a tall mountain that is both hot and cold
at the top. Yet it is much more cold than it is hot. I again note
that the air is thin.
Moving to the precise center and time of the target, I sense that
the subjects are going up, or climbing over. They feel exhilarated,
but there is also grave danger in the activity of climbing this
mountain. I get the overwhelming sense that their single-minded
focus is "going up, going up, going up and over."
After I finished this session, I was told the target cue, "Mid-May
expedition up Mt. Everest in which two guides and five hikers were
killed (circa May 1997)." This is an unusually clear remote-viewing
session. Even the most advanced viewers often have significant areas
of ambiguity mixed with some decoding errors in their work. I was
quite surprised with the accuracy of the physical target
descriptions in this instance.
Research on the target also indicated
that much of my description of the emotional dynamics among the
group members was particularly insightful. Following the completion
of this session, I briefly entertained the notion that my
capabilities might have catapulted upward permanently, and that all
of my future sessions would have this level of profound target
contact. Alas, I am just as human as everyone else, and this level
of clarity is still more the exception than the rule.
But readers should examine this session carefully All that I was
given before beginning this session were the target coordinates,
chosen by my tasker from a table of random numbers. I had no monitor
to lead me. Ñor had I ever heard or read about this expedition
before doing this session.
There is no way to associate a probability of psi functioning with a
session that contains such a high level of profound target contact.
Skeptics of remote viewing may insist on constructing some imaginary
rationale to explain this session without ad-dressing the real
causal link involving consciousness. My soul witnessed this event,
and it was through my conscious recognition of my soul's
perceptions that I was able to write down these descriptions.
Back to Contents
THE HUBBLE TELESCOPE REPAIRS
The following session is an excellent illustration of how the
conscious mind and the soul interact. While remote viewing a
verifiable space operation, my conscious mind tried to interpret the
data in a fashion that allowed a close parallel to the actual raw
Nothing is more important in understanding remote-viewing data
than the fact that each individual has two separate minds that can
function independently to a surprising extent. In this session, it
is clear what information my subspace mind was trying to convey, and
(by reading the deductions) it is equally clear how this information
was interpreted (falsely) by my conscious mind. Such decoding
difficulties can occur with any viewer, regardless of expertise, and
a trained analyst is normally alert to strip conscious mind
interpretations from the data.
Readers should examine this chapter closely to learn why it is so
difficult to rely on what the viewer thinks he or she has perceived. Unless one is quite skilled in these matters, correct
intuitions can be easily sidetracked by incorrect interpretations.
30 May 1997
10:56a.m. Atlanta, Georgia
Protocols: Basic SRV, Type 3
Target coordinates: 8810/4131
Employing Basic SRV, I observe in Phase
1 that the target involves
both a structure and movement. I hear rushing or roaring sounds,
like those of a jet. The textures are soft and fabric-like. The
temperatures range from hot to cold. There are many primary colors,
including blue and red. I deduct a balloon. The luminescence is
incandescent and bright, while the contrasts are moderate. I
perceive the taste of food, and I smell food as well.
of the dimensions include tall and high verticals, medium-width
horizontals, curving diagonals with a round topology, and hot, fiery
energy My Phase 3 sketch is of a circular structure connected to a
more rectangular structure. Due to the shape of this sketch, I
deduct a hot air balloon.
In Phase 4, I perceive hot, fiery energetics. Something is round,
and it is flying very high. I perceive cloth textures. What-ever is
flying high feels empty or hollow in some way.
associated with this target. There are subjects who are very excited
at the current time. I sense only a few subjects, most or all male.
The primary target structure is empty or hollow. It feels hotter
inside and cooler outside. The structure appears to be round or
curved in shape.
Using my hands to follow the shape of the structure, I note
that it seems to "give" inward when pressed from the outside,
re-enforcing the idea that fabric of some sort is on the exterior of
the structure. This structure also feels like it is the primary
target aspect. There is the concept of thrill associated with this
target. I again perceive woven textures, like cloth, on the exterior
of the target. The subjects are very excited, and I am deducting the
concepts of patriotism and the flag. I also deduct a hot air ride
over Africa or Missouri.
The structure appears to be near some surface, perhaps land. It may also be that some surface or horizon
is visible from the perspective of the structure's location. The
structure itself feels light in some way.
I observe that the subjects are wearing distinct clothing that seems
to be intended for special warmth. They are flying, and it is a
thrilling adventure for them. There appear to be approximately four
subjects, and I am beginning to feel a female energy from one of the
subjects. The other subjects clearly seem male.
I move my perspective into the structure. It has a complicated or
sophisticated design. There seem to be strings or thin connectors
inside. Otherwise, the structure appears light and empty or hollow.
The structure is traveling, and the movement appears slow from my
Shifting my perspective to the target subjects, I execute a
collective deep mind probe. The subjects have a mixture of
emotions, including tension, combined with others of varying degree,
depending on the individual. I again sense three males and one
female. They appear to be standing together, looking outward. They
are participating in some kind of activity that involves
manipulating things. I again sense that a hot flame is near the
I re-orient myself to the center of the target with a movement
exercise. I perceive that the structure is round, in the sense that
it has a curved topology. I again note the excitement of the target
subjects, and I feel their sense of adventure. I draw a sketch of
the target structure. The sketch resembles a flying hot air balloon.
The horizon is visible below the structure. The target subjects
appear to be near one side, or perhaps the bottom of the structure.
The hollow structure seems to be above them.
The structure itself has thin walls. There seem to be higher temperatures inside the structure than outside the structure. But the
outside does not feel frigidly cold. The subjects are in an area
near the lower part of the structure. This area is compact, dense,
and congested. There are many technological devices in this area.
Below the structure I perceive empty space, and when I probe the
apparent horizon, I perceive solid land.
The target cue for this session is,
"The shuttle Discovery mission
to repair the Hubble Space Telescope (mid-February 1997)."
ignores the deductions (which is the appropriate thing to do since
deductions are analytical conclusions, not raw data), this session
is quite accurate. I perceived a flying structure, a small group of
people working on that structure using technological devices, and
the horizon of the land below the structure.
When I first analyzed the session, I was struck by how strongly my
mind wanted to interpret the data for the structure as representing
a balloon. In particular, I was concerned about the perceptions of
cloth or textiles surrounding the structure, which was the aspect
that was leaning me in the balloon direction. I could not see how
this could possibly be true, since the Hubble Space Telescope is
certainly constructed of metal.
I then conducted some research for
the target event using the CNN website. As it turns out, I learned
that the telescope is covered with reflective insulating fabric that
is used to protect the exterior from solar radiation. According to
the reports, the shuttle crew were concerned about the extensive
damage that they observed to this protecting covering (due to
unexpectedly high wear and tear). Since there is a layer of
insulation between the fabric and the telescope, the exterior
"gives" when pressed.
I could obtain little information about the crew of the Discovery.
The CNN reports made no mention of a woman, or the number of total
crew members. Thus, these data may have contained some
inconsistencies. Nonetheless, I did accurately perceive that the
target subjects were few in number.
By this time readers should be able to clearly identify the tension
that exists between the conscious mind and the subspace mind with
regard to the exchange of information. The subspace mind perceives
raw information that is not processed logically or verbally. The
conscious mind must use words to describe the intuitive content of
this information, including sketches of the low-resolution images. The conscious mind and the subspace mind do not
approach awareness from the same point of view. There is a
translation problem that is compounded by the fact that the
essential natures of the two minds are different.
All this implies that remote viewing is a skill that takes
considerable practice. A person does not learn the procedures and
instantly perceive accurately across time and space. Rather,
accuracy increases with practice. Just as all artists must practice
regularly in order to perfect their skills, remote viewers need to
view often in order to maintain and improve their skills.
Back to Contents
used to live near the Centers for Disease Control (CDC) in Atlanta,
Georgia. Every day I drove past the oddly assembled buildings that
make up that complex. Historically, buildings were added as needed
and as funding allowed. The architects al-ways changed, and no
common theme developed to guide the evolving physical appearance of
What exists now is a hodgepodge of structures with
differing shapes, sizes, and de-signs. Some roofs are flat, while
others are slanted. Smoke stacks emerge from one building while a
dish antenna tops another. A large sloping parking lot is located
behind the complex. From a design perspective, this facility is a
mess. From a remote-viewing perspective, its complexity makes it a
Is this then a chapter about remote viewing a collection of
buildings? No. Readers should remember that the most complete
collection of deadly viruses and bacteria known to man are housed in
this facility. Now, put yourself in the position of a strategist
trying to locate the biological warfare weapons of a terrorist
organization. Remote viewers could be assigned a target cue that
would direct them to some suspect facility.
Depending on the artistic capabilities of the viewer, the data and
sketches may be of a type reminiscent of those contained in this
session. The information would hopefully not only describe aspects
of the structures at the site, but the behavior and appearance of the personnel working in the facility as well.
The analysts would then compare the data with known facilities in
the area under investigation. If a match is suspected, other forms
of intelligence would be used to obtain corroborating or confirming
evidence. This is the way remote-viewing data can be used to
initiate leads that are later followed up. The same would be
applicable not only to search operations relating to biological
warfare agents, but also to other situations in which physical descriptions
of buildings and their associated personnel are required.
In this day and age when weapons of mass
destruction can be obtained by terrorist forces, sessions resembling
here may be common in our future.
Protocols: Enhanced SRV, Type 3
My first ideogram feels soft and artificial. It represents
some-thing that contains the colors red, blue, and white. I perceive
a woven texture, and I hear a snapping sound. My sketch is of two
flags, one of which is flapping in the wind.
The second ideogram feels semi-hard. I again hear sounds of wind,
and the smells are of outdoors. Something is heavy, tall, and
towering at the target. My sketch is of a tall rectangular
structure. The third ideogram feels hard and man-made. It also feels
heavy and dense. The colors are tan and light brown. The sketch is
of a circle.
The fourth ideogram feels hard and man-made, and I perceive that it
represents a structure. The colors are light brown and gray. The
textures are a mixture of rough and polished. The magnitudes of the
dimensions are thin and short, narrow and compact. The sketch is of
a short rectangular structure.
My final ideogram also feels hard and man-made, representing a
structure. I again perceive the combination of rough and polished
textures, as well as the colors of gray and green. The
sketch of the structure suggests that it has a steeply slanted,
My Phase 3 sketch suggests that the target involves a rectangular
structure in the background with a flag on a flagpole in the
foreground. I begin Phase 4 observing that the target is
irregularly shaped. It is gray, bright, and polished. There are
subjects in the irregularly shaped target structure. The structure
is complicated to draw with detail. Currently, it appears to be hit
by bright light. I observe the highly reflective surfaces of the
target structure. There is technology associated with this target.
It is both big and tall, and its topology is both curving and
There are multiple subjects at the target. They are wearing clothes
that seem like smocks or lab coats. Their long white clothing hangs
down over their bodies. There are both males and females at work,
and I sense a mission in their activity.
I sketch one aspect of the target structure. It has a single,
curved, steeply tilted roof. Its walls are reflective, at least partially. Some of the target subjects within the structure wear
I execute a collective deep mind probe
of the target subjects and perceive the emotionality of worry,
focus, and concentration. I sketch one of the target subjects. This subject is
a male, and he is wearing a long white lab coat. The other target
subjects are focused on work activity. I note that the floor on
which they walk is polished and shiny. I draw another sketch of two
subjects wearing lab coats within the target structure.
To refocus myself at the center of the target, I execute a movement
exercise. After returning to Phase 4, I observe technology that is
compact. The target subjects are still focusing their concentration
in a work environment. Their white clothes still fully cover their
bodies loosely I observe their shoes, their hair, and their faces.
I now note that something is circular at the target, and I sketch a
round structure with lines that radiate outward from the center. It
looks like spokes on a wheel. There is technology here. One facet of
this technology is associated with the transmission of radio
signals. Looking around the target site, I observe that the target
structure is on dry land. I draw another aspect of the target
structure, which is short and rectangular. Overall, my impression of
the target structure is that its topology is complex and
The target cue for this session is "CDC (current time)." As
mentioned earlier, the architecture of the CDC is highly complex.
It is not one structure, but many differently shaped structures
grouped together. There are flags on flagpoles in front of the main
entrance to the complex, exactly as described in this session.
Note that I perceived the activities and appearance of the
personnel who work at the CDC. Long white lab coats are virtually a
uniform among the researchers and technicians. Also, they in-deed
have a mission. CDC exists to serve humanity by assisting in the
control of infectious diseases. There are also uniformed guards
throughout this facility. (Remember that every deadly infectious
agent known to man is stored in these buildings.)
If I were a human living on a far-off planet, it would be possible
for me to remote view this facility by targeting the central
location where efforts to control worldwide diseases are
coordinated. This session, combined with related sessions from other
viewers, would enable the analysts on that distant world to develop a description of the facility as well as the personnel that
work there. In the absence of transportation capabilities, this
description would be labeled unverifiable.
But because we can walk
up to this target and touch it, the current session seems more real.
Were we to know of the remote-viewing efforts of this distant
civilization, we might ridicule their hesitancy to accept as real
the information that they obtained using methods that work quite
well with other targets that are verifiable to them.
This, of course, is the current situation in which we find
our-selves as a species. We note with interest the accuracy of a
session in which a verifiable target is clearly described. But we
balk when we are asked to seriously consider the results of esoteric
targets, regardless of how many times the experiments are repeated,
and regardless of the controls used.
Back to Contents
THE KU KLUX KLAN
Ever wonder what really happens at a reunion? This chapter presents
remote-viewing data of a recent reunion of the Ku Klux Klan in
Georgia. From these data it is clear that Klan members share a
strongly held perspective that they hold in memories, folklore, and
stories. But their reunion also invokes a heritage that connects
them with a living history. I theorize that when groups form on the
basis of strongly felt ideas that are connected to earlier events
and conditions, the consciousness of the people who shared those
ideas in the past reverberate in the present.
Time is no barrier to remote viewing. Similarly, even though the
individuals concerned may not be consciously aware of this, time is
totally transparent to the souls of those beings who share a common
viewpoint. This relationship exists regardless of whether or not two
groups of such beings are separated by decades, centuries, or
27 May 1997
2:05 p.m. Atlanta, Georgia
Protocols: Basic SRV, Type 3
Target coordinates: 1443/0210
My first ideogram indicates that the target involves a
mountain. Other ideograms appear to address the land or environment around
the mountain. In Phase 2, I hear something airy, and I perceive the
crackling sounds of fire. The textures at the site are sharp,
smooth, polished, and possibly painted. Temperatures are both cold
and hot. There are blue and white colors with moderate
luminescence. I taste blood and salt.
The air smells cold and fresh.
The magnitudes of the target dimensions include something tall,
towering, and steep. The horizontals are narrow while the diagonals
are long and sloping. Something is both heavy and open at the target
site, and I perceive energetics of some type. My Phase 3 sketch is
of a mountain with a curved base.
In Phase 4 I immediately deduct both a mountain and Mt. Everest. The
target feels very open in some way. I smell something burning. One
aspect of the target feels heavy, long, and sloping, and I deduct a
pyramid. I also begin to perceive the emotions and thoughts of
subjects at the target site. There is a stone structure that feels
man-made. This stone structure is large, and I again deduct a
pyramid. The textures are sandy while the colors are tan and brown.
There is another structure on land at the target. This structure is
made of wood. I can perceive the walls as well as the interior and
exterior of the structure. The structure has doors and other
openings, and it is made of natural materials. Something about this
target feels old, even ancient.
There are thoughts and emotions associated with the target site. But
I am not perceiving the subjects who had these thoughts as currently
present. There are other subjects present at the target site, and
they are fewer in number. They are near or in the wooden structure.
There is furniture in the structure, and a hall-way with rooms off
to the side. I deduct the rounded mountain, Santa Fe Baldy. Focusing
again on the emotions at the target site, I perceive a few subjects
physically, but the emotions of many.
I execute a collective deep mind probe of the target subjects and
find their minds to contain the concepts of being under-ground or
hidden. I deduct the idea of hiding. Drawing another sketch of the
target, I place the structure with the subjects in the foreground,
and the mountain in the background. There are lots of emotions
associated with this target. They are not bad emotions, just many
This target is connecting to disparate things, places, times,
events. There is history here. Something old has passed away. The
mountain is of some significance to the target subjects. It is an
object of study examination, and interest. It represents something
to these subjects, something ancient, something historical.
it represents generates many thoughts and emotions in their minds.
Oddly I still perceive only a few physical subjects, but the
emotions of many crowd the collective conscious-ness associated with
The target cue for this session is "1996 annual Ku Klux Klan meeting
/ Stone Mountain, Georgia / event (20 July 1996)." This reunion
of Ku Klux Klan members took place near the base of Stone Mountain.
This is a large, rounded granite rock that protrudes from flat
land. On one of its faces is carved a huge sculpture of Confederate
heroes in the Civil War. This explains why I perceived the mountain
to be man-made, and why so many deductions appeared comparing it to
a pyramid. This also explains the deduction of Santa Fe Baldy
another round-top mountain.
The most interesting aspect of this session is the sense of connectedness to the past that I perceived from the target
These beings felt a nostalgic longing for days gone by. But most
interesting, my subspace mind clearly perceived the emotions of many
others who were not there physically This was not just a reunion of
physical beings; this was a reunion of the spirit.
There seem to be two possibilities to explain this phenomenon of
spiritual connectedness across time in this instance. First, perhaps
the racist philosophy of the target subjects, as well as their
emotional attachment to history, induced many of the souls of those
who are no longer physical to identify with the modern-day Klansmen.
The Klan of the past was with the Klan of the present at the reunion, literally, in spirit. Alternatively,
perhaps the minds of the target subjects used the vehicle of
nostalgia to transcend time, to make a direct connection to the days
of burning crosses and
Remember, the subspace minds of these people are as
transparent to time as my own. Possibly I perceived the emotions of
many because I followed the awareness of the target subjects
backward through time. I do not know which of these two theories is
Back to Contents