The method of remote viewing that is the focus here began to evolve
in earnest in 1996 due to research that was and continues to be
conducted at The Farsight Institute. This is a nonprofit research
and educational institute based in Atlanta, Georgia, that is
dedicated to the continued development of the science of
consciousness using remote viewing as the primary research tool. I
am the director of the institute. Much of the research that is
conducted is available for free on the Internet at the Institute’s
Underpinning all of the research is the hypothesis that all humans
are composite beings. This means that we have two fundamental
aspects: a soul and a body. In the current jargon of remote viewing,
the soul is called the “subspace aspect” of a person. The physical
realm of solid matter is both separate from and connected to
subspace. Once our physical bodies expire, we are no longer
composite beings, and we continue our existence as subspace
While we are composite beings, physical stimuli tend to dominate our
awareness. This means that our five senses (taste, touch, sight,
hearing, smell) overshadow the more intuitive awareness originating
from the subspace side. In practical terms, this means that most
people are not aware that they even have a subspace aspect. In
short, soul voices are deafened by the din of our five physical
In order to break through this noise, specialized techniques are
required. In general, these techniques focus on shifting a person’s
awareness away from the five physical senses. It is not necessary to
force a shift in one’s awareness toward the subspace aspect. This
happens automatically once a person’s awareness is no longer riveted
on the physical side of life.
For this reason, I advise combining the practice of remote viewing
with the practice of meditation.
The form of meditation that I enjoy is
Transcendental Meditation ™, or the more advanced TM-Sidhi Program.
My preference is based on the fact that TM is a mechanical
procedure, and it has no belief or religious requirement associated
with it. The mechanics of TM are also quite stress free and
relaxing. Again, these are only my preferences. Many people who
participate in other programs for the development of consciousness
have also learned remote viewing.
Remote viewing is a natural process of a deeply settled mind. Remote
perception works best when it is not forced in any way. I have often
said that the ancient seers were our first human astronauts. While
in a deeply relaxed state, they let their minds roam across the
fabric of the universe, and some perceived what was there with
The subspace mind, the intelligence of the soul, perceives and
processes information differently from the physical mind. All
evidence suggests that the subspace mind is omnipresent across space
and time. It is everywhere at once. Using the capabilities of the
subspace mind, remote viewing involves no more than shifting one’s
awareness from one place and time to another. You do not go anywhere
when you remote view. You do not leave your physical body. You do
not induce an altered state of consciousness. You merely follow a
set of procedures that allows you to shift your awareness from one
area of your intelligence to another.
As physical beings, though, we must translate the information
perceived by our subspace aspects into physical words, pictures, and
symbols so that this information can be conveyed to others within
the physical realm. Scientific Remote Viewing facilitates this
translation. Remote viewing would be impossible in the absence of
the human soul, since it is physically impossible for an
individual’s conscious mind to perceive things without direct
physical contact of some sort.
COMMUNICATION WITH THE SOUL
Soul-level communication is not as easy as you might initially
think. On one level, communication using the soul is as natural as
breathing. While the theoretical principles underlying how this is
done are quite simple, knowing with some degree of certainty that
the communication is accurate is more difficult.
Subspace information has a mental flavor that is distinctly
different from that obtained from the five physical senses. It is
much more subtle and delicate. For this reason, sensory input from
the five physical senses needs to be kept to a minimum both
immediately prior to and during a remote-viewing session. That’s why
one begins with meditation or other procedures to calm the mind, and
then to shift one’s awareness away from the physical senses.
The five physical senses are not the only hurdles confronting the
remote viewer. The thinking, judgmental, and evaluative processes of
the conscious mind can also inhibit success. The conscious mind can
contaminate accurately perceived information. The amount of
information the conscious mind has regarding the target during the
remote-viewing session has to be minimized.
Information coming from the subspace mind is typically called
“intuition.” This is a feeling about something which one otherwise
would have no direct knowledge of on the physical level of
existence. For example, many mothers say they know when one of their
children is in trouble. They feel it in their bones, so to speak,
even when they have not been told anything specific regarding their
child’s situation. SRV systematizes the reading of intuition.
Using SRV, the information from the subspace mind is recorded before
the conscious mind has a chance to interfere with it using normal
intellectual processes such as rationalization or imagination. With
nearly all physical phenomena, a time delay exists between
sequential and causally connected events.
For example, when one turns on a
computer, it takes awhile for the machine to boot up. When the
institute teaches remote viewing to novices, we exploit the fact
that there is approximately a three-second delay between the instant
the subspace mind obtains information and the moment when the
conscious mind can react to this information.
The subspace mind, on the other hand,
apparently has instantaneous awareness of any desired piece of
information. In general, the novice viewer using SRV protocols moves
steadily through a list of, say, a few hundred things at basically a
three-second clip for each one. The tasks carried out in the
protocols are carefully designed to produce an accurate picture of
much of the target by the end of the session.
It is crucial to emphasize at this point that there must be no
deviation from the grammar of the protocols. This is particularly
true for novices. If there is a deviation, one only has to be
reminded that it is the conscious mind that designs this deviation.
When this happens, the subspace mind loses control of the session,
and the data from that point on in the session are often worthless.
Scientific Remote Viewing always focuses on a target. A target can
be almost anything about which one desires information. Typically,
targets are places, events, or people. But advanced viewers also
work with more challenging targets.
An SRV session begins by executing a set of procedures using target
coordinates. These are essentially two randomly generated four-digit
numbers that are assigned to the target.
The remote viewer does not know what
target the numbers represent, yet extensive experience has
demonstrated that the subspace mind instantly knows the target even
if it is only given its coordinate numbers. The remote viewer is not
told the target’s identity until after the session is completed.
When I remote view, the only thing I am given prior to the beginning
of my session is a fax or an e-mail from my “tasker” telling me the
target’s coordinates. The tasker is someone who tasks or assigns a
target. For example, if the target was the Taj Mahal, I would not be
told to remote-view the Taj Mahal, since this would activate all of
the information held by my conscious mind regarding this structure,
meaning that I would have a difficult time differentiating the
remote-viewing data from memories or imagination. Instead, the
tasker would tell me that the numbers were, say, 1234/5678.
My conscious mind would not know what
target is associated with these numbers, but my subspace mind would
know the target immediately. A productive session would then include
good sketches of the structure, or at least aspects of the
structure, together with written descriptive data of the building
and its surroundings, including people who may be in or near the
THE SRV PROTOCOLS
Scientific Remote Viewing has five distinct phases, which follow one
after the other during an SRV session. In each phase the viewer is
brought into either a closer or an altered association with the
target. SRV is performed by writing, on pieces of plain white paper
with a pen, sketches and symbols that represent aspects of the
The viewer then probes these marks with
the pen to sense any intuitive ideas. Since the subspace mind
perceives all aspects at once, probing a mark is a way of focusing
attention on the desired aspect.
The five phases of the SRV process are as follows:
Phase 1. This establishes initial
contact with the target. It also sets up a pattern of data
acquisition and exploration that is continued in later phases.
This is the only phase that directly uses the target
coordinates. Once initial contact is established, the
coordinates are no longer needed. Phase 1 essentially involves
the drawing and decoding of what is called an “ideogram” in
order to determine primitive descriptive characteristics of the
Phase 2. This phase increases viewer
contact with the site. Information obtained in this phase
employs all of the five senses: hearing, touch, sight, taste,
and smell. This phase also obtains initial magnitudes that are
related to the target’s dimensions.
Phase 3. This phase is a sketch of
Phase 4. Target contact in this
phase is more detailed. The subspace mind is allowed significant
control in solving the remote-viewing problem by permitting it
to direct the flow of information to the conscious mind.
Phase 5. In this phase the remote
viewer can conduct some guided explorations of the target that
would be potentially too leading to be allowed in Phase 4. Phase
5 includes specialized procedures that can dramatically add to
the productivity of a session. For example, one Phase 5
procedure is a locational sketch in which the viewer locates a
target in relation to some geographically defined area, such as
the United States.
Categories of Remote-Viewing Data
Remote-viewing data can be obtained under a variety of conditions,
and the nature of these conditions produces different types of data.
There are six different types of remote-viewing data, and there are
three distinguishing characteristics of the various types of data.
The first distinguishing characteristic
is the amount of information the viewer has about the target prior
to the beginning of the remote-viewing session. The second is
whether or not the viewer is working with a person called a
“monitor,” explained below. The third is determined by how the
target is chosen.
Type 1 Data
When a remote viewer conducts a session alone, the
conditions of data collection are referred to as “solo.” When
the session is solo and the remote viewer picks the target (and
thus has prior knowledge of the target), the data are called
Type 1 data.
Knowing the target in advance is called “front loading.” Front
loading is rarely necessary and should be avoided in general,
but sometimes a viewer simply needs to know something about a
known target and has no alternative. Such sessions are very
difficult to conduct from a practical point of view.
The viewer’s conscious mind can more
easily contaminate these data, since the viewer may have
preconceived notions of the target. Rarely do even advanced
viewers attempt such sessions. Any findings are considered
suspect, and attempts are made to corroborate the data with
other data obtained under blind conditions (see Type 2 data).
Type 2 Data
When the target is selected at random from a predetermined
list of targets, the data are called “Type 2” data. For this, a
computer (or a human intermediary) normally supplies the viewer
with only the coordinates for the target.
Even if the viewer knows the list of
targets, since sometimes the viewer has been involved in
designing the list, only the computer knows which coordinate
numbers are associated with each target. It is said that the
viewer is conducting the session blind, which means without
prior knowledge of the target.
Type 3 Data
Another type of solo, blind session is used to collect Type
3 data. In this case the target is determined by someone (a
tasker). During training, viewers may (rarely) receive some
limited information regarding the target—perhaps whether the
target is a place or an event. Advanced viewers are normally not
told anything other than the target coordinates.
Solo sessions can yield valuable information about a target, but
trainees often find that more in-depth information can be
obtained when someone else is doing the navigation. This other
person is called a “monitor,” and monitored sessions can be
spectacularly interesting events for the new remote viewer.
Type 4 Data
There are three types of monitored SRV sessions. When the
monitor knows the target but communicates only the target’s
coordinates to the viewer, this generates Type 4 data. These
types of monitored sessions are often used in training.
Type 4 data can also be very useful
from a research perspective, since the monitor has the maximum
amount of information with which to direct the viewer. In these
sessions, the monitor tells the viewer what to do, where to
look, and where to go. This allows the viewer to almost totally
disengage his or her analytic mental resources while the monitor
does all of the analysis.
One of the troubles with Type 4 data for advanced practitioners
is that their telepathic capabilities become so sensitive that
they can be led during the sessions by the thoughts of the
monitors. Even slight grunts, changes in breathing, or any other
signal, however slight, can be interpreted as a subtle form of
leading by the monitor, which in turn could contaminate the
data. To eliminate these problems, advanced monitored sessions
are normally conducted under double-blind conditions, yielding
Type 5 data.
Type 5 Data
For this level both the viewer and the monitor are blind,
and the target either comes from an outside agency or it is
pulled by a computer program from a list of targets. Sessions
conducted under these conditions by proficient viewers tend to
be highly reliable.
The disadvantages are that such
sessions do not allow the monitor to sort out the most useful
information during the session. To address this limitation,
scripts are often given to the monitor in advance of the
session. These scripts contain no target identifying
information, but they do give clear instructions as to which
procedures and movement exercises need to be executed (and in
Type 6 Data
These data come from sessions in which both the monitor and
the viewer are front loaded with target information. This type
of session was occasionally used when there were very few
professionally trained viewers and monitors, information needed
to be obtained quickly, and there was no one else available to
task with the session. Type 6 data are rarely if ever collected
THE REMOTE VIEWING EXPERIENCE
When at peace inwardly, and generally stress free, beginners
perceive a target with a clarity characteristic of, say, a light on
a misty night. While there may be difficulty discerning the precise
meaning and distance of a light under such conditions, there is
nonetheless no doubt that a light is perceived. With experience and
skill, a remote viewer can perceive all sorts of details relating to
a target, just as an experienced yachtsman, upon seeing the light,
can soon discern the outline of the nearby coast, and the identity
of the lighthouse from which the shrouded beacon shines.
Learning how to remote view from a book is not optimal. The primary
reason for presenting these methods here is not to teach Scientific
Remote Viewing, but to explain it to people who want to understand
and interpret remote-viewing data. Students of remote viewing must
understand that the effectiveness of any procedures depends not only
on the procedures themselves, but also on how well they are
This, in turn, depends on the quality of
instruction and feedback. In a classroom, regular instructions are
directed at a student’s work while the initial learning process is
under way (and before counterproductive habits are formed). These
instructions help obtain the highest level of performance.
Nonetheless, many students can achieve a minimal level of
effectiveness by systematically studying the procedures presented
here without the assistance of classroom instruction.
The term “remote viewing” is actually not entirely appropriate. The
experience is not limited to visual pictures. All of the
senses—hearing, touch, sight, taste, and smell—are active during the
remote-viewing process. More accurate is the term “remote
perception.” Nonetheless, since “remote viewing” has been widely
adopted in the scientific as well as the popular literature, it
makes sense simply to continue using the current term.
When one looks at an object, the light reflected off that object
enters the eye, and an electrochemical signal is generated that is
transmitted along the optic nerve to the brain. Scientific studies
have demonstrated that this signal is “displayed” on a layer of
cells in the brain, the way an image is projected from a movie
projector onto a movie screen. The brain then interprets this image
to determine what is being seen. When someone remembers an object,
the remembered image of the object is also projected onto that same
layer of cells in the brain.1
If one remembers an object and visualizes it while the eyes are open
and looking at something else, then the same layer of cells in the
brain contains two separate projected images. The image originating
from the open eyes is the brightest, whereas the remembered image is
relatively dim and somewhat translucent, since one can see through
the translucent image to perceive the ocular originating image.
For those readers who would like to
read an accessible but more in-depth treatment of the physiology of
visual and remembered images, I strongly recommend an article in The
New York Times by Sandra Blakeslee titled, “Seeing and Imagining:
Clues to the Workings of the Mind’s Eye” (The New York Times, 31
August 1993, pp. B5N & B6N).
When remote viewing, one also perceives
an image, but it is different from the remembered image or the
ocular image. The remote-viewing image is dimmer, foggier, and
Indeed, one tends to “feel” the image as
much as one visualizes it. The human subspace mind does not transmit
bright, high-resolution images to the brain, and this fact is useful
in the training process for SRV. If a student states that he or she
perceives a clear image of a target, this image almost certainly
originates from the viewer’s imagination rather than from subspace.
This does not mean that the relatively
low-resolution remote-viewing experience is inferior to a visual
experience based on eyesight. Remember that all of the five
senses—plus the sense of the subspace realm—operate during the
remote-viewing process. Thus, it is actually possible to obtain a
much higher-quality collection of diverse and penetrating data. The
remote-viewing experience is simply different from, not superior or
inferior to, physical experience of observation.
A remote viewer’s contact with a target can be so intimate that a
new term, “bilocation,” is used to describe the experience.
Approximately halfway through a session, the viewer often begins to
feel he or she is in two places at once. The rate at which data come
through at this point is typically very fast, and the viewer has to
record as much as possible in a relatively short period of time.
Experience has shown that each viewer is attracted to certain
aspects of any particular target, and not all are attracted to the
same aspects. One viewer may perceive the psychological condition of
people at the target location, whereas another viewer may focus in
on their physical health. Yet another viewer may concentrate on the
physical attributes of the local environment of the target. For
example, I once assigned a target of a bombing to a group of
students. One of the students was a doctor and another a
After the session was completed, I
reviewed each student’s work. The entire class perceived the bombing
incident. But the doctor described the physical characteristics of
the bombing victims closely, including all of their medical problems
resulting from the bombing. On the other hand, the photographer’s
session read more like a detailed analysis of the physical
characteristics of the event, including an accurate description of
the geographical terrain where the bombing took place.
Thus, remote viewers go into a session with what they already
have—their own personalities. Advanced remote viewers balance these
attractions because their training is designed to extract a
comprehensive collection of data. But even under the best of
circumstances, some level of individual focusing is inevitable for
each viewer. For this reason, we use a number of advanced remote
viewers for any given project. Each viewer will contribute something
unique to the overall results, and a good analyst can put the pieces
of the puzzle together to obtain the fullest analysis of the target.
So, you may ask, who should remote view?
In this field there is a distinction between natural and trained
remote viewers. Natural remote viewers are generally referred to as
“psychics,” or when the context is clear, simply “naturals.”
Naturals typically use no formal means of data acquisition. They
simply “feel” the target, and their accuracy depends on how well
they can do this. Because naturals may not understand the mechanism
by which their talents are achieved, their dependency on the “feel”
of the data can cause problems of accuracy. A person’s conscious
mind can disguise information to make it feel right, when in fact it
is not correct at all. Furthermore, since it is difficult to
accurately evaluate the “flavor” of psychic data while it is being
collected, most naturals have very uneven success histories.
By the end of 1997, The Farsight Institute had trained a large
number of people in the basics of Scientific Remote Viewing. With
this teaching experience as background, we have identified a clear
pattern. Any person of average or better intelligence apparently can
be trained to remote view with considerable accuracy.
Certain life experiences and educational
backgrounds sometimes assist in the process. In week-long
introductory classes taught at The Farsight Institute, all or nearly
all students have successful remote-viewing experiences, and the
instructors generally expect that most sessions conducted after the
third day contain some obviously target-related material.
Part of the training process is helping participants identify and
interpret subspace-accessed data with increasing precision. All
aspects of all targets have a particular “feel.” The novice viewers
are just beginning to learn what these aspects feel like on an
In addition, Farsight Institute trainees who practice meditation
already have a good intuitive sense of subspace. Their initial
training moves quickly from learning the mechanics of SRV to the
advanced discrimination between complex target characteristics.
Meditators often discern new things and have more penetrating and
profound remote-viewing experiences more quickly than those who do
not meditate. Of course, there are exceptions: many remote-viewing
trainees are very good from the start even if they have never
With this general discussion of Scientific Remote Viewing complete,
we are now ready to explain the mechanics of the process and how it
works. We begin this in the next chapter by explaining how we
identify a target using what is called a “target cue.”
Back to Contents
Writing an effective target cue is one of the most important
criteria in remote viewing. The target cue identifies the target. It
is the actual event, person, object, or whatever, that is the focus
for a remote viewing session. Normally, the remote viewer is not
told the target cue until after the session is completed. With Type
5 data (double-blind), the monitor also is not told the target cue
until after the session is completed.
The target initial cue is given through the target coordinates.
Typically, the person who tasks the session has a piece of paper on
which the target coordinates and the target cue are both written. In
Type 5 data situations, the tasker gives the monitor the target
coordinates (normally over phone or fax), and nothing more.
Experience has clearly demonstrated that the viewer’s subspace mind
has instantaneous awareness of the meaning of the target
coordinates, and a typical session begins immediately by obtaining
information directly related to the target cue.
Humans perceive and process remote-viewing data differently. For
example, if someone was told to go into a room and to see what was
there, they would need little additional instruction. The request to
go into the room and observe is vague, yet most people would not
feel uncomfortable with the request, knowing that they would
probably be able to sort things out once they got into the room.
When they start looking around, they could make an inventory of the
room’s contents. Their conscious minds would be fully engaged as
they entered the room, and most people would perform satisfactorily
in this regard even if they had no prior expectations regarding the
contents of the room.
With remote viewing, the viewer has minimal help from the conscious
mind. The viewer cannot scan everything, evaluate the importance of
all that is perceived, make logical choices as to which are the
important things to observe, and rank them in order. The
remote-viewing experience is more passive; the viewer perceives what
is there, but the viewer has only limited evaluative capabilities.
Thus, for remote viewing to be most successful, it is necessary to
compensate for the relative lack of input from the conscious mind.
To do this, one makes the target cue very specific with regard to
what is desired from the subspace mind of the viewer.
At The Farsight Institute, we avoid excessively vague cues. For
example, if one tasks a target cue of a person (say, just the
person’s name), then a viewer would be completely accurate if the
observed data were anything that related to this person at any time
in his or her life. Even a fantasy that the person had during a
lunch break would qualify as accurate data. In such a situation, the
choice of what to perceive is being determined by the personal
preferences of the viewer’s subspace mind. To avoid this problem of
subjectivity, the instructions in the cue have to eliminate as much
ambiguity as possible.
Here I will present one of the more modern forms of cuing that is
used at The Farsight Institute. Other cuing forms are also used,
depending on the needs for the session. Neither are better or worse;
they just do different things.
To task a target, one needs a “target definition.” A complete target
definition has a variety of parts, but they are basically broken
(1) viewing parameters
(2) the essential cue
(3) a list of qualifiers
Viewing parameters may contain a variety of components. They
typically begin with a declaration of the target coordinates.
Following this is the essential cue, as it is described below. The
target coordinates and the essential cue are placed at the top of
the cue so that analysts who sort through large stacks of targets
can identify a target by glancing at the top of the page.
Following the essential cue are two primary viewing parameters. The
first is the target range. This gives general instructions as to the
type of information that is permissible in the session. For example,
the range typically limits the target data to only tangibles and
intangibles that exist in the target.
At first this may seem obvious. However,
all targets bleed into other areas, and it is easy for the subspace
mind to follow these smears in the data boundaries. For example, the
target may be a specific person on a beach on the equator at a given
point in time. But that person may be thinking about an Eskimo
hunting a polar bear in the Arctic. If a viewer pursues this
perception, the viewer may describe polar bears on the beach.
Then comes the second viewing parameter. This specifies the time
frame of the target. Many experiments have verified that there is a
complete continuum of existence with an infinite number of time
lines, both past, present, and future. The subspace mind is equally
capable of perceiving all of these.
Thus, it is necessary to request the
subspace mind to locate targets as they may exist in time frames and
realities that are closely connected to our present. Following the
second viewing parameter is the target cue, which includes the
essential cue and the qualifiers.
THE ESSENTIAL CUE
The essential cue is normally a simple statement or sentence that
describes the basic core of the target. The essential cue is both
simple and direct. Sometimes a segmented structure is used in
writing the essential cue. The cue has multiple parts, with each
being separated by a slash (/). The first part of the essential cue
is called the “primary cue.” The primary cue is the major identifier
of the target.
Everything that follows is a refinement
of this primary identifier. Thus, if the target is a known place or
person, the first part must be the name of the place or person. The
primary cue is then followed by a slash and one or more secondary
cues (each separated by a slash) if greater refinement of the target
is required. The cue “event” is sometimes used as the final
secondary cue to focus a remote viewer on activity at the target.
Specific temporal identifiers follow the
primary and secondary cues and are placed in parentheses. As a
general rule, each target must have one primary cue, and nearly all
targets have at least one secondary cue (as needed) as well as a
The format of the essential target cue
is as follows:
Primary Cue / First Secondary Cue /
Second Secondary Cue (Temporal Identifier)
The following are some examples of
essential target cues that follow the segmented format.
Napoleon Bonaparte / Battle of Waterloo / event (1815)
John F. Kennedy assassination / event (22 November 1963)
Nagasaki / nuclear destruction / event (9 August 1945)
Effective essential cues must begin with
a known, not a conclusion. Errors in cue construction usually result
from placing an analytical conclusion in the cue itself. The purpose
of a remote viewing session is to gather data for known events so
that conclusions can be made during the subsequent analysis of the
data. For example, a poorly written essential cue that contains a
conclusion would be: “John F. Kennedy assassination / conspiracy.”
In this cue, one is assuming that there
is a conspiracy in the assassination. With remote viewing, one must
construct a case for a conclusion based on observable data. If there
was a conspiracy in the J.F.K. assassination, this must be
established from the data of events and people, not by cuing on the
idea of conspiracy.
Since remote viewing always obtains descriptive information about
people, things, and events, the conscious mind must later make
conclusions based on information supplied by remote-viewing data.
For example, a remote viewer could be tasked the J.F.K.
assassination (that is, the event itself).
The viewer could then be given various
movement exercises and cues to obtain as complete a collection of
data as possible. In the analysis that follows the remote-viewing
session, the analyst can then examine the data for any evidence of a
conspiracy. For instance, the data may show more than one source of
bullets in the event. But one cannot go into a session assuming that
there will be more than one source of bullets. That would bias the
Restating this important principle, data are collected using neutral
target cues, and all analytical conclusions must be made after the
data collection process is completed.
Another example of a poorly written essential cue is: “How to live
happily with friendly extraterrestrial neighbors.” Many people think
that remote viewing can be used to resolve such targets directly.
Yet it must begin with a known person, place, thing, or event. A cue
about extraterrestrial neighbors would assume the existence of
extraterrestrials. At best, one would have to begin with a known,
such as an actual sighting of an unidentified flying object, perhaps
one documented with a photograph.
The remote viewer would then be able to
target the object, move inside the object, and observe
extraterrestrials flying the craft. The viewer would also be able to
move into the minds of the extraterrestrials to find out if they are
friendly toward humans. With this information, an analyst would have
at least something to work with regarding the possibility of
friendly coexistence for humans and extraterrestrials.
In general, remote viewing is descriptive. It does not label things,
analyze situations, make conclusions, nor does it employ logic or
reasoning during the session. For example, if the target is a
checkers game, the remote viewer would describe the board, perhaps
even drawing the checkerboard pattern in a sketch.
The viewer may even correctly place some
pieces on the board, and identify the colors of the pieces. But the
viewer may not realize during the session that the target is a
checkers game. After the session is completed, the analyst can
examine the data and conclude that the data seem to correspond with
a checkers game. The target cue has to focus on these descriptive
capabilities of remote viewing.
Following the essential cue is a list of qualifiers, usually marked
with bullets. The qualifiers are written in phrase or sentence
format, and they are clear descriptions of specific things that the
viewer is supposed to observe and describe. The qualifiers must
address the primary goals of the cue, including instructions to
observe activity that may be taking place at the target location.
Target qualifiers are not as effective
as numbered target aspects in helping the remote viewer focus on
particular components of a target (see SRV vocabulary).
For example, if the cue is a military battle, the qualifiers should
explicitly state that the viewer is to observe the battle itself.
Otherwise a viewer may perceive what amounts to an inventory list of
things and people that are at the scene of the battle, but miss the
actual fighting, the sounds of the passing cannonballs, the thunder
of the bombs, the shouts of the soldiers, etc.
Readers are encouraged to closely
examine the qualifiers for the example target cues listed below to
obtain a solid sense of what’s required. Versions of some of these
targets have been used in the actual training of many advanced
viewers at The Farsight Institute.
One Complete Example
TARGET DEFINITION FOR
ESSENTIAL CUE (AND VIEWING PROTOCOLS):
Mike Tyson - Evander Holyfield
Championship Boxing Match (28 June 1997). (ESRV)
VIEWING PARAMETER 1: TARGET RANGE
The viewer perceives only the intended target as it is specified
by this complete target definition.
The viewer describes only tangibles and intangibles that exist
in this target.
VIEWING PARAMETER 2: TARGET LINKS
If the target resides outside of a past, present, or future
connection to the temporal and/or spatial reality of the current
tasking time frame, then the viewer remote views the target as
it exists in its own reality.
If the target time is the moment of tasking, then the viewer
remote views the target as it exists in the same temporal and
spatial reality of the tasker at the moment of tasking.
If the target time is prior to the moment of tasking, then the
viewer remote views the target as it exists in the temporal and
spatial reality of the time stream that directly evolves into
the temporal and spatial reality of the tasker at the moment of
If the target time is in the future of the moment of tasking,
then the viewer remote views the target as it exists in the most
highly probable temporal and spatial reality as it may evolve
from the temporal and spatial reality of the tasker at the
moment of tasking, given both the existing conditions of the
tasker’s reality at the moment of tasking, as well as directions
for extrapolation into the future if such are specified in the
Protocols used for this target: Enhanced SRV
The Mike Tyson - Evander Holyfield Championship Boxing Match (28
June 1997). In addition to the relevant aspects of the general
target as defined by the essential cue, the viewer perceives and
describes the following target aspects:
Mike Tyson and Evander
the target activity in the
the activity surrounding the
the building within which
the target is located
the thoughts of the people
watching the fight inside the building where the match
Examples of Essential Cues with
Madeleine Murray O’Hare / current location. In addition to the
relevant aspects of the general target as defined by the essential
cue, the viewer perceives and describes the following target
the current physical
characteristics of Madeleine Murray O’Hare
the current physical condition
of Madeleine Murray O’Hare
the surrounding environment and
current location of Madeleine Murray O’Hare’s physical body
The Apollo 11 landing on the Moon /
event (20 July 1969). In addition to the relevant aspects of the
general target as defined by the essential cue, the viewer perceives
and describes the following target aspects:
the actual landing event in
which the lander contacts the lunar surface
the activity of Neil Armstrong
as he emerges from the lunar lander and walks on the lunar
surface for the first time
Neil Armstrong planting the U.S.
flag on the lunar surface
Ted Bundy’s execution / event. In addition to the relevant aspects
of the general target as defined by the essential cue, the viewer
perceives and describes the following target aspects:
Ted Bundy during the execution
Ted Bundy’s surroundings during
the moment of execution
the people near him during the
the emotions of Ted Bundy as
well as the emotions of the people near him who are watching
the method by which the
execution is performed
Here is an esoteric target. Before
giving an esoteric target with an extensive list of qualifiers, the
tasker must have some information strongly suggesting that such a
target in fact exists. Such information can come from more
The living physical subjects and their
facilities that are currently located on Mars (at the time of
tasking). In addition to the relevant aspects of the general target
as defined by the essential cue, the viewer perceives and describes
the following target aspects:
the physical environment of the
subjects’ living conditions
the age and gender variations
among the subjects
the emotional state of the
the dominant groups among the
subjects, including any governmental organizations
the primary thoughts of the
collective consciousness of the subjects
the level of technology
available to the subjects
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The single most important step needed to obtain a profound
remote-viewing experience is a deeply settled mind. For this
reason I recommend that remote viewers meditate regularly. While
I personally practice Transcendental Meditation ™, other forms
of meditation may be useful as well.
Additionally, since a settled mind
is so essential to deep target penetration, the practice of SRV
begins with a procedure that helps to settle the mind in an
appropriate fashion. This practice is called the SRV
“Consciousness-Settling Procedure” (or CSP), and it is composed
of a few simple techniques commonly practiced in a number of
CSP must be done immediately prior to each SRV session by both
the viewer and the monitor. CSP takes approximately 15 minutes
total. In Type 4 and Type 5 settings, monitors and viewers need
to communicate 15 minutes before each session to coordinate the
precise timing of the beginning of the SRV session. Here are the
steps for CSP:
1. Sit comfortably in silence
with the eyes closed for 30 seconds.
2. Perform a brief body massage. (Some meditation traditions
recommend that the massage be executed slightly differently
for men and women, and I describe these recommendations
here. I am not clear as to why these gender-related
differences exist, or if the need for the differences is
The massage begins by gently
pressing the hands against the face, then upward on the top
of the head, back down the neck, and toward the heart. (All
massage elements move toward and finish at the heart.) Then
men continue by gently using the left hand to press and
massage first the right hand, and then up the arm, and back
down toward the heart.
Again, this is all done with the
left hand. Women do the same, but they begin by massaging
the left hand and arm (back toward the heart) with the right
hand. Then both men and women switch arms and massage the
other hand and arm, again, back toward the heart.
Then men continue by massaging
the right foot and leg, upward toward the heart. This is
done with both hands pressing gently. Then massage the left
foot and leg, again, upward toward the heart. Women do the
same, but they begin with the left foot and leg, upward
toward the heart, before repeating the process for the right
foot and leg. This is best done with the eyes closed. Total
time for the massage is about a minute.
3. While sitting comfortably with the back straight, perform
a breathing technique that is called “pranayama.” Begin with
10 seconds of fast pranayama. This is done using very short,
gentle breaths, closing one nostril at a time after each
outward and inward breath. Close the nostrils (one at a
time) with the thumb and the middle fingers (alternately) of
Men use their right hand to do
this while women use their left. The mechanics of the
procedure are similar to slow pranayama (see below), except
that the breaths are very short and rapid (although still
gentle). This is best done with the eyes closed.
The procedure should be
effortless and easy, and if someone is experiencing any
problems like dizziness or hyperventilation, it is being
performed incorrectly and its practice should be
discontinued until getting personal instruction in this
4. While sitting comfortably with the back straight, perform
9 to 10 minutes of slow pranayama. This is done similarly as
with the fast pranayama, but using normal breaths (not short
or long ones), closing one nostril at a time after each
outward and inward breath. Be sure to complete both the
outward and inward breath before switching nostrils. On the
exhaling breath, let the breath flow out naturally, not
The inhaling breath should take
about half the time as the exhaling breath. Hold the breath
after inhaling for a brief moment (a second or two) while
alternatively closing the other nostril with the other
finger, and prepare to exhale. The entire procedure should
be effortless and gentle. If you feel you need more air,
simply take deeper breaths, but do not hyperventilate. You
should be breathing normally, just alternating nostrils
after exhaling and inhaling. This is best done with the eyes
5. Sit quietly and comfortably for 5 minutes with the eyes
6. Open your eyes, and immediately begin the SRV session.
2. Physical Considerations to
Beginning the SRV Session
A remote-viewing session begins with a viewer sitting at a
clean desk. Ideally, the only items that should be on the desk
are a pen and a thin stack of white paper.
We use a ballpoint pen with liquid
black ink. The pen’s point should ideally range from between .2
mm to .4 mm. A good quality pen that does not produce much
friction when writing is best. Traditional ball point pens that
use gummy ink require too much downward pressure when writing to
The ideal training room is neutral in color. Light gray, powder
blue, or light brown are suitable colors. It is probably not a
good idea to use, say, a child’s playroom that has lots of
primary colors on the walls. The idea is to minimize the strong
stimuli that come in through the senses, such as bright visual
Before remote viewing, a person should be well rested. This
cannot be emphasized enough. Tiredness dulls the conscious mind,
and a tired conscious mind has difficulty perceiving information
originating from the subspace mind. A good night’s sleep is
ideal for a morning remote viewing session, and a midday 15 to
30-minute rest often refreshes one sufficiently for an afternoon
One should be comfortably fed before remote viewing. This means
that one should not be hungry, and one should also not be
overfed. Hunger and feeling stuffed produce physical stimuli
that are difficult for the conscious mind to ignore. Remember
that the subspace mind yields a relatively weak informational
signal to the conscious mind. Try to minimize any physiological
stimuli that could swamp the subspace signal.
Remote view in a quiet environment. If possible, close the
windows and doors of the remote-viewing room. Also turn off the
ringer of the phone for the time that it takes to complete the
session. Turn off any radios or televisions that may be audible
Avoid wearing any perfume, cologne, aftershave, or other strong
scents. This is particularly important when training in a group
environment. If a viewer is a smoker, it would be best if this
viewer wore freshly washed clothes during the session that do
not smell of smoke.
People who use recreational drugs, or any other drugs with
psychoactive qualities, should not remote view at all. These
drugs tend to release any controls that the conscious mind has
over the imagination, which is exactly opposite that which is
required for successful remote viewing. With respect to drugs of
any type, one should try to be as drug free as possible.
Individuals who use
doctor-prescribed antidepressants should probably not spend much
effort trying to remote view. Such antidepressants suppress the
nervous system to such a degree that accuracy in remote viewing
is highly compromised. Yet individuals using any drugs
prescribed by their doctors should not discontinue their use
unless directed to do so by their doctor. Learning how to remote
view is not as important as maintaining one’s health and mental
Before beginning the session, you should sit comfortably on a
chair at your desk with both feet on the floor. The legs should
not be crossed. You should sit up straight, not off to one side,
or sitting on one foot in a lotus position. The hands should be
relaxed, with the pen held over a single clean sheet of paper.
The paper is positioned in portrait mode (vertically). The stack
of paper should be on the viewer’s right side of the desk.
THE SRV AFFIRMATION
The SRV Affirmation is normally read aloud with a soft voice, even
in solo sessions. The affirmation produces a subtle shift in the
sensitivities of the mind that helps to connect the awareness of the
conscious mind to the perceptive capabilities of the subspace mind.
The SRV Affirmation is designed to
closely approximate the way sequential, connected thoughts are felt
telepathically, piece by piece, one “thought-ball” at a time.
Viewers should read the affirmation slowly, pausing briefly after
each comma or period.
Here is the SRV affirmation:
I am a spiritual being. Because I am a spiritual being, I am
able to perceive beyond all boundaries of time and space. My
consciousness is ever present with all that is, with all that
ever was, and with all that ever will be. It is in my nature, as
a human, to be able to perceive, and thus to know, all that
there is to know.
Everywhere, at all times, I seek to
learn, and thus to evolve. To further my own personal growth,
and to assist others in their growth, I direct my attention to a
chosen point of existence. I observe what is there. I study it
carefully. I record what I find.
Next, write the SRV identifying header on the top of the first piece
of paper. The viewers declare the condition of their physical state
(PS), their emotional state (ES), or any advanced perceptuals (AP)
centered at the top of the first page. Declaring PS and ES let the
conscious mind account for your physical and emotional states,
thereby releasing any psychological pressure that could be present.
These declarations can be positive, neutral, or negative.
Positive declarations include, “I really
have a happy glow this morning,” or anything else that is upbeat.
Negative declarations include having a sore foot, or being upset
with the quality of lunch. Unusually strong PS or ES declarations,
such as just having had a fight with a spouse, may suggest that the
session might be postponed until later. Similarly, if one is in
significant pain due to, say, severe arthritis, it might be better
to delay the session until the pain abates.
In some ways it is useful to compare the conscious mind to the
mentality of a small child. When the conscious mind is experiencing
something, it likes to be heard. Declaring the PS and the ES
satisfies this need. This helps the conscious mind relax,
circumventing its natural desire to force the issue of having its
needs recognized later in the session, potentially corrupting the
integrity of the data.
Often a viewer begins a session thinking that he or she has an idea
as to what the target is. Such ideas are advanced perceptuals, and
any thoughts along these lines need to be declared at the outset, or
they will build in pressure in the conscious mind during the
session, and are likely to emerge in some form during the actual
data flow. Declaring these APs in advance again relaxes the
conscious mind by satisfying its desire to be heard, thereby
minimizing the risk of contaminating the data.
To the right of the PS, ES, and AP is
the identifier of the remote viewer. At The Farsight Institute we
use a code called a viewer identification number (VIN), but a name
would do just as well. Below the name or viewer identifier is the
date written in the U.S. military or European format
(day/month/year). Below this is the beginning time of the
To the left of the page is the data
type, and below that is written the monitor’s name or identification
number (MIN—if the session has a monitor). To summarize, the format
of the initial header is as follows:
Readers are encouraged not to perceive
this initial header as a frivolous formality. Everything is
carefully structured in SRV. Following these details from the outset
of the session focuses the attention of the conscious mind on the
structure of the page.
Further, trainee viewers should follow
all of the seemingly petty structural details of these protocols,
including formatting issues involving indentations, dashes, and
colons. Once a remote-viewing session is proceeding at a fast speed,
the conscious mind can do little else but keep track of these
This frees the informational conduit of
the subspace mind from the controlling influence of the conscious
mind. Figuratively, this ties the hands of the conscious mind with
activity, allowing the subspace mind to slip the data past the
conscious mind with minimal interference.
After saying the SRV affirmation, the viewer receives the target
coordinates from the monitor. The monitor must speak deliberately
and clearly so that all the numbers can be heard. The target
coordinates are two four-digit random numbers, and the monitor
places a slight pause between the two groups of numbers. On the left
side of the page, the viewer writes the first four-digit number,
then the second four digit number directly under the first.
After writing the target coordinates, the viewer immediately places
the point of the pen on the paper to the right of the coordinates.
At this point an ideogram is drawn. An ideogram is a spontaneous
drawing that takes only a moment to complete.
The pen does not leave the surface of
the paper until the ideogram is completed. Ideograms normally are
simple, but complex ideograms can occur. In general, each ideogram
should represent one (and only one) aspect or “gestalt” related to
the target. For example, if the target is near a body of water, an
ideogram could represent water. If there is an artificial structure
at the target site, another ideogram could represent this structure,
and so on.
Only one ideogram is written for each recitation of the target
coordinates. In Phase 1, the monitor usually recites the target
coordinate numbers three to five times, enabling the viewer to draw
and decode a few ideograms, thereby obtaining information relating
to different target gestalts. Each time the viewer writes down the
target coordinates, it is said that he or she is “taking” or
“receiving” these coordinates.
After drawing the first ideogram, the viewer then writes the capital
letter “A” followed by a colon to the right of the ideogram. The
viewer then describes the movement of the pen while writing the
ideogram, writing this all down after the “A:.” The description must
describe the process of the pen’s movement without the use of
The following words are generally
acceptable in this regard: vertical upward, vertical downward,
diagonal upward, diagonal downward, sloping (upward or downward),
curving (upward or downward), moving (upward, downward, or across),
slanting (upward or downward), curving over, curving under,
horizontal flat across, horizontal flat along, angle.
Words ending in “ing” or “ward” are
generally preferred. Labels such as “a circle,” “a loop,” or “a
square” are to be avoided. Labeling adds conceptual meaning to data
in remote viewing, and that is conscious-mind analysis. All of
remote viewing is built upon perceptions that begin at the lowest
level of conceptual abstraction and gradually move to higher levels
of abstraction. In the beginning of Phase 1, the lowest level of
conceptual analysis is required.
PROBING THE IDEOGRAM
This is a delicate matter. The viewer places the point of the pen on
the ideogram itself and gently (but firmly) pushes the pen downward
(into the table). The novice viewer can probe one or more times but
should avoid more than four attempts. Each probe lasts between one
and two seconds (no longer than three seconds).
While the pen is in contact with the
line, the viewer normally perceives some feeling about the target.
Too brief a contact does not allow the nervous system to register
the impression sufficiently to allow for accurate decoding. Too long
a contact allows the conscious mind to intervene in the process and
distort or fabricate the data.
After the probe, the pen is removed from
the ideogram, and the viewer searches for a word to describe the
sensation that was perceived during the probe.
The first time that the viewer probes the ideogram, the attempt is
made to discern what is called a “primitive descriptor,” of which
there are six possible choices, with one exception. These are: hard,
soft, semi-hard, semi-soft, wet, or mushy. While probing the
ideogram, the viewer will actually sense the pen moving into the
paper and table if the target is soft, wet, or mushy.
Although this seems logically impossible
due to the firmness of the writing surface, it nonetheless is
consistently perceived by viewers. When gently pushing the pen into
the paper, it will also feel wet if the target has water. The viewer
must choose only one of the six possible descriptive options given
above. No substitutions should be made, since this would invite the
conscious mind to enter the process more fully. The choice of
primitive descriptors is then written under the written description
of the movement of the pen.
The one exception to picking one of the six primitive descriptors is
if the viewer perceives movement or energetics in the ideogram. If
this occurs, the viewer may or may not also perceive one of the six
primitive descriptors. If the viewer does, then the chosen
descriptor is declared and the viewer proceeds with the next step.
However, if you perceive only movement
or energetics, abandon the attempt to perceive a primitive
descriptor and move directly to declaring an advanced descriptor.
After obtaining a primitive descriptor, the viewer probes the
ideogram again to obtain what is called an “advanced descriptor.”
There are five choices, and the viewer
must use only one of these choices. These are: natural, man-made,
artificial, movement, energetics. After probing the ideogram, the
viewer writes the advanced descriptor under the primitive
Readers should note that there is a difference between “man-made”
and “artificial.” While everything that is man-made is artificial,
not everything artificial is man-made.
For example, a beaver dam is artificial,
but it is not man-made. Note also that energetics refers to a
feeling that the target is associated with some significant quantity
of energy. This energy can be in any form: kinetic, radiant,
explosive, etc. While movement can also indicate an expenditure of
energy, the movement of a snail or a slowly driven car might not be
perceived as energetics.
Underneath part A, the viewer writes “B” followed by a colon. The
viewer then declares what he or she perceives the ideogram to
represent. The most common declaration is “No-B.” While you must
have one primitive descriptor and one advanced descriptor per
ideogram, you do not have to declare a substantive B. However, the
viewer must at least write “No-B.”
For B, there is no fixed list of possible declarations. To assist
students, however, we offer a list during the first few days. The
list is: No-B, structure, water, dry land, wet land, motion,
subject, mountain, city, sand, ice, swamp.
Note that these declarations are at a higher level of abstraction
than when describing the movement of the pen when drawing the
ideogram. The entire process in Phase 1 moves from lower to higher
levels of abstraction as follows: describing the movement of the
pen, primitive descriptors, advanced descriptors, and an
interpretive declaration of the meaning of the gestalt. Yet the
viewer must remember that the declaration that is made in part B is
still very low-level.
For example, a viewer could not declare
that the gestalt represents an automobile, a computer, a skyscraper,
or a spaceship, since these declarations would be far too
high-level, involving conscious-mind interpretations that greatly
exceed the quality and quantity of data that are available at this
point in the session. For example, if the target really is a
skyscraper, then the best that could be determined at this point is
that the target is associated with a structure.
Following the declaration of B, the viewer writes “C:” followed by
the viewer’s intuitive perceptions about what the ideogram feels
like. This is usually just a word or two that describes very
low-level perceptions relating to the ideogram. Examples of such
perceptions are colors or textures (such as rough, smooth, polished,
The viewer may also feel the perception of size, such as big
or small, short or tall, wide or narrow. A viewer may also write
“No-C” if the previously declared data capture all of the ideogram’s
To summarize, the Phase 1 procedures are
(1) take or receive the target
(2) draw an ideogram
(3) describe the movement of the
pen during the drawing of the ideogram using process terms
rather than labels
(4) probe the ideogram for
(5) probe the ideogram for
(6) make an initial declaration
of a low-level description of the target aspect that is
captured by the ideogram, or simply state that there is no
declaration (i.e., No-B)
(7) list other intuitive
feelings regarding the ideogram, if there are any
This entire sequence is typically done
three to five times in Phase 1 (going through all seven steps each
time). The idea is not to use Phase 1 to identify all of the aspects
of the target, but rather to establish initial contact by describing
a few of the primary target aspects only. The viewer then proceeds
immediately to Phase 2.
One final note about the ideograms: if an ideogram is not decoded
correctly, it is nearly always immediately repeated with the next
taking of the coordinates. Thus, a self-correction factor is built
into the Phase 1 procedures. If an ideogram returns subsequent to a
different ideogram emerging from a different taking of the
coordinates, this indicates that the initial ideogram was decoded
correctly previously, and that most or all of the primary gestalts
have been properly expressed. After decoding a repeating ideogram,
the viewer moves on to Phase 2.
For example, let us say that the first ideogram is decoded as a
structure. The second ideogram looks different, and from this we
assume that the first ideogram was decoded correctly. We decode the
second ideogram saying that it is hard and natural, with a B: of
“land.” On the third taking of the target coordinates, the second
ideogram returns. This tells us that we most likely made a mistake
in decoding something in the previous (second) ideogram.
We probe again, this time finding that
the ideogram really feels more like it is hard and man-made. We
declare “No-B.” We take the coordinates again and the structure
ideogram returns. Now we know that we have exhausted all of the
major gestalts. We then decode the final ideogram and move on to
Phase 2. After the end of the session, we find out that the target
was a shopping mall containing a structure and a large parking lot
(that is, man-made land).
Students need to develop skill in drawing ideograms. Practice and
some drills are required. Our students typically drill with a few
standard ideograms that have established meanings. They are
“established” because many viewers use these same ideograms to
represent the same things.
Usually seven or eight pages of drills are all that is required to
set in place the initial ideogram vocabulary. In the drill, an
instructor repeats words like “structure,” and the student quickly
draws a structure ideogram. Common ideograms that are useful for
drill purposes are presented in Figure 1.
Other ideograms are developed individually for each student. Such
ideograms do not have a set pattern, and may vary widely from person
to person. Ideograms for such things are drilled not by telling the
student what the ideogram looks like, but by just repeating the
gestalt (such as the word “movement”), allowing the student to draw
whatever comes naturally.
The ideograms typically settle down into
a set pattern for each gestalt after only a few repetitions.
“Person” or “subject” ideograms are often very individualistic in
this regard. As a result of these drills, most students develop a
minimum of five or six distinct patterns in their ideogram
Should a student ever develop an
“ideogram rut,” in which all ideograms always look alike, then 10
minutes of drill using a variety of ideograms usually fixes this
What do you do if the conscious mind makes a high-level guess as to
the identity of the target or target fragment? This is called a
“deduction.” A deduction has two components. First, it is a
conclusion (as in “to deduce”) that the conscious mind makes
regarding the target. The conscious mind is basically watching the
data flow between the subspace mind and the physical body (the hand
holding the pen).
The conscious mind needs very little
information before it leaps into the process with a guess as to the
meaning of the data. This conclusion may indeed be correct, but the
viewer cannot know until the target identity is revealed at the end
of the session. Thus it is important to remove the conclusion from
the data recording process, which leads to the other half of the
meaning for “deduction.” A deduction is also a subtraction from the
data flow. If this high-level conclusion is removed from the data
collection, it will not contaminate the remainder of the data flow.
Nearly all deductions describe some true aspect of the target, but a
remote viewer doesn’t know during a session what that aspect is. For
example, if a target is the destruction of the Hindenberg blimp, it
follows that kite, balloon, fireworks, and TWA Flight 800 could all
be deductions. The idea of a kite captures the notion that the
Hindenberg flew, the balloon reflects the structure of the blimp,
fireworks reflect the explosion that resulted in the destruction of
the Hindenberg, and TWA Flight 800 identifies the idea that an
airborne vehicle carrying passengers exploded causing loss of life.
Do not worry about the inaccuracies inherent in deductions.
Remember, deductions are not remote-viewing data. They are guesses
made by the conscious mind, nothing more. However, deductions can be
very useful when analyzing the data afterward. Deductions can convey
meaning about a target that is difficult to express.
For example, someone could be remote
viewing a slave labor camp during the time of the Pharaohs, and give
Auschwitz as a deduction. Such a deduction has many parallels with
the actual target. Jews were the subjects of slavery, repression,
misery, and death in both settings. But more important, the analyst
may be alerted to the magnitude of the misery that was experienced
in Egyptian slave labor camps through the deduction of Auschwitz.
This could be useful in interpreting the remainder of the session
should the viewer describe extreme levels of suffering among the
actual target subjects.
Regardless of the potential accuracy of deductions, they must be
eliminated from the flow of the data. To accomplish this, the viewer
writes a capital letter “D” followed by a dash and the description
of the deduction on the right-hand side of the paper. Thus, the
deduction mentioned above would be written as “D-Auschwitz.”
Following this, the viewer must put the
pen down on the table for one or more seconds. This action of
putting the pen down breaks the flow of the data from the subspace
mind, thereby allowing the impression that was made on the conscious
mind to dissipate. After a few moments the viewer picks up the pen
and continues with the session.
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