Phase 1 initiates contact with the target. Phase 2 deepens that contact by systematically activating all of the five senses: hearing, touch, sight, taste, and smell. In Phase 2, viewers write down various cues as well as their initial impressions of these cues. In early training (the first three days), these steps are performed slowly so that students can commit the mechanics of the process to memory. Once this is done, the speed of these steps dramatically increases.

Phase 2 begins by writing “P2” centered at the top of a new sheet of paper. In general, all phases must begin with a new sheet of paper regardless of how much space is left on the previous piece of paper. The page number is entered on the upper right corner of the new page.

The viewer begins by writing the word “sounds” followed by a colon on the left side of the page. Immediately after writing this, the viewer normally perceives some sense of sound, although this is obviously not a physical perception. To assist the new viewer in building a vocabulary for this phase, the instructor often recites a list of sounds from which the viewer can choose one or more.


This list includes the following: tapping, musical instruments, laughing, hitting, flute, whispering, rustling, whistling, horn, clanging, voices, drop drop, drums, barking, humming, beating, trumpets, vibrating, crying, whooshing, rushing, whirring. The viewer will often perceive a variety of sounds, and should record all of these perceptions as rapidly as possible.

The viewer then cues on textures that are associated with the target. This is done by writing the word “textures” on the left side of the page, followed by a colon. While writing the cue or immediately afterward, the viewer will sense certain textures and write them down after the colon. To help students during the first few days of training, the following list of textures is read: rough, smooth, shiny, polished, matted, prickly, sharp, foamy, grainy, slippery, wet.

The next sensation is temperature. The viewer writes the abbreviation “temps” on the left side of the page, followed by a colon. As before, one or more temperatures will be perceived immediately, and the viewer must write these down following the colon. The list of possible temperatures that is read to the beginning student is: hot, cold, warm, cool, frigid, sizzling.

The viewer then cues on visuals. These have three components. To begin, the viewer writes “visuals” on the left side of the page followed by a colon. Dropping down and indenting, the viewer writes “colors” followed by a dash (not a colon). The list of colors that is read to the viewer is: blue, yellow, red, white, orange, green, purple, pink, black, turquoise (and others). The viewer may write down colors from this list, or may perceive other colors. In any case, the list is no longer read after the first few days.

On the next line, also indenting as with colors, the viewer writes “lum” for luminescence.

As with colors, the cue is followed by a dash, not a colon. The list of possibilities is: bright, dull, dark, glowing.

The final visual is contrasts. This cue is written under “lum,” and is followed by a dash. The list of possible contrasts is: high, medium, low.

Dropping down again, but now returning to the left side of the page (that is, no longer indented), the viewer cues on tastes. This is done by writing the word “tastes” followed by a colon. The list of possible tastes is: sour, sweet, bitter, pungent, salty.

The final cue for the five senses is smell. The viewer writes the cue “smells” on the left side of the page followed by a colon.

As with all other cues, the viewer will immediately perceive some smells, and these must be recorded without delay. The list of possible smells is: sweet, nectar, perfume, flowers, aromatic, shit, burning, dust, soot, fishy, smoke (also cold and hot).

After recording the data from the five senses, the viewer is normally drawn much closer to the target. Evidence of this is that the viewer almost always perceives many magnitudes of the target. Most magnitudes are essentially quantities. They tend to answer the question of “How much?”

To probe for these target aspects in Phase 2, the viewer first indents on the page and writes “Mags” followed by a colon. Dropping down and indenting further, the viewer cues on the various types of magnitudes shown in the following list. The viewer should not write down the cues for the magnitudes, since these cues are long and this could dangerously slow down the recording of the data.

Here is the list of cues and a collection of possible choices. Advanced viewers typically develop a larger vocabulary of descriptive magnitudes.

  • [VERTICALS] high, tall, towering, deep, short, squat

  • [HORIZONTALS] flat, wide, long, open, thin

  • [DIAGONALS] oblique, diagonal, slanting, sloping

  • [TOPOLOGY] curved, rounded, squarish, angular, flat, pointed

  • [MASS, DENSITY, SPACE, VOLUME] heavy, light, hollow, solid, large, small, void, airy, huge, bulky

  • [ENERGETICS] humming, vibrating, pulsing, magnetic, electric, energy, penetrating, vortex, spinning, churning, fast, explosive, slow, zippy, pounding, quick, rotating

The viewer must perceive magnitude data for at least three of the six dimensions before proceeding further. If the viewer fails to perceive data for at least three, the viewer is undoubtedly editing out data.

In the beginning of training, a viewer sometimes claims not to perceive anything. This is almost always a matter of editing out data, which occurs when the conscious mind enters the remote-viewing process and makes a decision that a piece of data cannot be correct. This is usually perceived as doubt in the mind of the remote viewer.

To remedy this, an instructor encourages the student not to edit out anything, and to write down the data immediately. This raises an important point. It does not matter how the conscious mind is occupied as long as the viewer stays within the structure of the remote-viewing protocols. This means that the viewer need only to keep track of what is to be done next, and to mechanically perform that duty correctly.



At the end of recording dimensional magnitudes, the viewer begins to perceive aspects of the target very strongly. These aspects could be anything: emotional, physical, or whatever. When this happens, the viewer’s conscious mind responds to the data, and this response must be declared in order to limit its ability to contaminate the data not yet collected.


This response is called a “viewer feeling,” and it is declared by writing the letters “VF” followed by a dash, and then the declaration of the feelings of the viewer. The viewer’s feeling is not the viewer’s perception of the target. Rather, it is the viewer’s gut response to the target.

The viewer must have a viewer feeling at the completion of the initial pass through Phase 2, but it is not required or even desired that the viewer feeling be dramatic. The viewer’s gut response can be simply, “OK,” if that is how the viewer feels at that point. A list of common examples of viewer feelings is: I feel good, disgusting, I feel happy, interesting, awful, this place stinks, this is gross, I feel light and lifting, I feel spiritual, enlightening, wow!


The most important thing to remember about the viewer feeling is that it is not data. It does not describe the target. It describes the viewer’s emotional response to the target. By declaring the viewer feeling, we acknowledge it and remove it from the data flow.

After declaring any viewer feeling, the viewer must put the pen down momentarily, letting the feeling dissipate before picking up the pen again and continuing with the session. In this regard, a viewer feeling is treated similarly to a deduction.


Back to Contents


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 representing subjects.

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 patterns 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 progress). Listed here are a few useful interpretive guidelines.

  • Perpendicular and parallel lines normally represent artificial 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 represent 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 dimensional magnitudes. The third column is labeled VF, which represents viewer feelings.

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.


It is 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 because 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 “vibes.”

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 confused.

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 become 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 they practice.

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 throughout 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, adventuristic, enlightening, attack, evolutionary, degraded, supported, healing, altruistic, evil, sinister, saintly, and so on.

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 column.

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, perhaps 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 the “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 data collection process.

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 deduction dissipates.

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 time.


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 undeclared 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 another’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, wetness, 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 scenario.

Entering high-level data in the Phase 4 matrix is very risky. Trainee viewers often want to obtain high-level data so as 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 aspects.


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 session.




P4 ½

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 P4 ½. This begins on the left side of the Phase 4 matrix. The viewer writes “P4 ½ - ” followed by a sentence or phrase, writing from left to right across the page. A P4 ½ entry is rarely more than one sentence, as this is to be avoided.


It is better to write two or more P4 ½ 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 P4 ½ entries most useful, especially after they have established thorough target contact. However, novices must watch out since they tend to use P4 ½ entries indiscriminately. Evidence of this is typically the appearance of a P4 ½ entry that is not immediately preceded by a number of related single-word entries in the appropriate columns.


Thus, the P4 ½ entries should ideally relate to and organize already perceived data, and they should definitely not appear to come “out of the blue.”

P4 ½ S

A P4 ½S is the same as a P4 ½, 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 “P4 ½S” in either the physicals or the subspace column, depending on whether the sketch is to be of something in physical reality or subspace reality.


The viewer then takes another piece of paper, positions it lengthwise, labels it P4 ½S centered at the top, and gives it a page number that is the same as the matrix page containing the column entry “P4 ½S,” with an A appended to it. Thus, if the entry for the P4 ½S is located on page 9, then the P4 ½S sketch is located on page 9ª.



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 described 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 target. 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 appropriate directions.

Working the target also includes tying together low-level data in P4 ½ 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 ½ entry, is itself a low-level description of the target or a fragment of the target. The statement does not label the target aspect.

For example, let us say that a viewer perceives wind, circular 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 P4 ½: “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 ½ 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 groups 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.


The 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 conceptual 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 allows 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 described 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 the 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 the matrix.



There are three types (called “levels”) of movement exercises. All levels can be performed after spending some time in Phase 4.

Level One
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 area), 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) 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 removes 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) of 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
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 so on.

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. However, 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 focus my attention.

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 describe.”

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.”

Level Three
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 column, 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 subspace 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 remote viewing.

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 cue.

Back to Contents


Specialized procedures in SRV are performed in Phase 5. Below are thumbnail sketches of some of the Phase 5 procedures normally included at the end of the week-long introductory course.

Phase 5 requires a worksheet and a matrix, each on separate pieces of paper. The worksheet is labeled P5w, and the matrix is labeled P5m. The worksheet is positioned to the right of the matrix. All Phase 5 pages are assigned the same page number followed by the letters a, b, c, etc. for subsequent pages (such as 23ª, 23b, etc.). The Phase 5 matrix is identical to the Phase 4 matrix. Also, P5 ½ matrix entries are made identically to P4 ½ entries.

1. Timelines:

Have the viewer draw a horizontal line in the center of the worksheet. The viewer should then locate the target time, the current time, and the time of some significant event that is well known. The viewer should not be told the actual identification of the significant event, other than that it is event A.


The viewer can also be instructed to probe the timeline for other significant events. Each event must be labeled generically, e.g., event A, B, C, and so on. The viewer should not probe for a specific year, only an event.

2. Sketches:

Analytical sketches (more detailed than Phase 3 drawings) can be drawn and probed in the worksheet. Data obtained from the probes should be entered in the Phase 5 matrix. Lines can be drawn in the sketches to symbolically connect various places or objects.


The viewer can switch from one place or object to another by alternatively probing the separate parts of the drawing. Alternatively, the viewer can be instructed to move from one part of the drawing to another by following the line with his or her pen that connects the various parts. (See sliding.)

3. Cuing:

In Phase 5, the monitor can suggest cues for the viewer to enter into the matrix that may be too leading for Phase 4. These cues can be from the viewer’s Phase 4 data, or they can be the monitor’s words. Again, cues originating verbatim from the viewer’s data are entered into the Phase 5 matrix in parentheses ( ), data from the monitor in brackets [ ].


Moreover, all monitor-originating cues should have some obvious connection to the data obtained earlier so as to minimize the risk of “deduction peacocking,” a phenomenon in which one deduction leads to another, and then another, etc., until a fictional storyline develops.

4. Locational sketches:

The monitor instructs the viewer to draw a map, say, of the United States. No edge of the map should come within one inch of any edge of the Phase 5 worksheet paper. The monitor then says the name of a well-known location (usually a city).


The viewer then automatically places his or her pen on that spot and quickly draws a line to the target location. No further monitor instructions are required other than to say the name of the original location. The line must be straight and rapidly executed. A slowly drawn or curved line indicates that the conscious mind interfered with the flow of the data.

5. Symbolic sketches:

These sketches include some part or aspect of the target about which further information is needed. For example, using the Phase 5 worksheet, a circle can be used to represent a person being viewed, and a square can represent a governmental organization, and so on. The viewer is not told exactly what the symbols represent. Rather, the viewer is told a generic version of their nature (e.g., target subject, target group, etc.). These generic identifiers are written near the symbols.


A line is then drawn connecting the symbols. The line is labeled “relationship.” Probes of the symbols (using the viewer’s pen) and the relationship line yield information that is then entered into the Phase 5 matrix. If the symbols represent physical items, then the labels are placed in the physicals column of the matrix. The word “relationship” is entered in the concepts column in square brackets. All data are entered in the matrix.

Movement exercise for Phase 5: Sliding: The monitor can instruct the viewer to move from one location to another in a controlled fashion by having the viewer make a small circle on the Phase 5 worksheet. This circle should be labeled “A: location #1.” Preferably, the viewer may write something more meaningful but still non-leading, such as “A: on top of the structure.” Another small circle is then drawn on the worksheet in a position relative to the first circle such that this position is sensible.

For example, if the viewer is on top of a building, and the monitor wants the viewer to descend into the building, then the second circle would be below the first. The second circle is then labeled accordingly (e.g., “B: inside the structure”). The viewer is instructed to connect the first circle to the second circle with a line, and then to retrace this line slowly as needed in order to go back and forth between the two points.


The viewer can also simply touch points A and B with his or her pen to shift quickly from one location to another. Alternatively, a cue placed in brackets (e.g., the words “building/inside”) in the physicals column can achieve a similar result. However, sliding (down the line connecting points A and B) is useful if the monitor thinks that the viewer might profitably control the rate of movement, perhaps because the monitor suspects that observations made along the path of movement may be valuable.

Since there are no known distance limitations to this procedure, sliding is useful if the two locations are very far apart, such as two star systems. Often sliding can be used in combination with another technique. For example, the initial movement between two points can be accomplished with sliding, while subsequent movements can be quickly accomplished by having the viewer simply touch either of the connected circles.


To enter data into the Phase 5 matrix, A and B are placed in the physicals column of the matrix inside square brackets, e.g., [A]. The data following A in the physicals column are related to point A in the Phase 5 worksheet. Data following B in the physicals column are related to point B in the Phase 5 worksheet.

Back to Contents




Enhanced SRV

The Farsight Protocols described elsewhere as Phases 1 through 5 are called Basic SRV. In the advanced courses taught at the Institute, these procedures are modified significantly in order to exploit the greater capabilities that are possible with trained and competent viewers. These modifications are called Enhanced SRV and Advanced SRV. Students normally learn Basic SRV, then Enhanced SRV, and finally Advanced SRV, all in this order.


Each level of training builds on the previous level, with greater complexity and potential being available with each new level. It is not recommended to skip levels by, say, trying to learn Advanced SRV first, or skipping Enhanced SRV after learning Basic SRV. What one learns in the previous version is used in the later version together with new material, so skipping an earlier version would lead to confusion and possibly poor performance. The current chapter is a description of Enhanced SRV.

Enhanced SRV resolves two problems inherent with Basic SRV. The first problem concerns an inadequacy in the use of Phase 1 data. Basic SRV collects and decodes a number of ideograms in Phase 1 that address various aspects of the target site.


These ideograms are among the most important pieces of data in a remote-viewing session because the conscious mind has almost no chance to interfere with the collection of these data. Yet because the intent of the session is to proceed as quickly as possible to the later phases where more valuable data are collected, the Phase 1 ideograms are essentially thrown away as the viewer proceeds further into the session.

The second problem arises because viewers enter Phases 2 and 3 with a jumble of impressions left in their minds by all the gestalts in the various ideograms of Phase 1. For example, if four important target aspects are identified by four separate ideograms in Phase 1, from which aspect will viewers report, say, temperatures, and in what order?


If the target is a campsite in Alaska in the middle of winter, the viewer may report both the heat of the campfire as well as the cold of the surrounding snow. This mixture of gestalts continues throughout Phases 2 and 3, and viewers typically spend a great deal of time in Phase 4 sorting things out.

Enhanced SRV procedures resolve both of these problems. The enhancements also improve the quantity and quality of data that are collected throughout the session. They shorten the time needed to descriptively separate the various target aspects in Phase 4. The enhancements also produce operationally useful Phase 1 data relevant to each individual ideogram. Finally, Enhanced SRV provides robust opportunities for sketching and analytic techniques in Phase 4.



Using Enhanced SRV, viewers begin their sessions by taking the target coordinates and drawing the ideogram in the normal fashion. They then write “A:” and describe the movement of the pen with words.


The ideogram is then probed for primitive and advanced descriptors. Following this, the viewer writes “B:” and declares a low-level guess describing the gestalt that is reflected in the ideogram (such as “structure,” “subject,” “No-B,” and so on). All of this is identical to Basic SRV.

The viewers then write “C:” underneath the B. The ideogram is then probed repeatedly, searching for low-level Phase 2 descriptors, but any data that are allowed in the Phase 4 matrix are also allowed here. Viewers do not force anything, allowing whatever is perceived to arrive freely.


This method of probing is called “free response.” Basic SRV also includes a few C entries (typically, three or four), but with Enhanced SRV the viewer is encouraged to probe the ideogram more often in order to obtain a much larger list of data for part C. You will remember that in Phase 2, data are always collected following a fixed structure (sounds, textures, temperatures, visuals, and so on).


This fixed structure approach is still not used in part C of Phase 1, but viewers can mentally remind themselves of a few of the categories of Phase 2 should they need assistance in initiating the flow of data. Probing the ideogram five or six times is often typical at this point, but viewers can probe the ideogram however many times as may seem appropriate should the data continue to flow. The data are entered vertically down the page.

As viewers collect more data under C, they will notice that a dim and vague mental image of the target aspect that is reflected in the ideogram begins to form. For example, if the ideogram reflects a structure, then the viewers will begin to develop an intuitive mental picture of the structure. Either directly underneath or (more commonly) to the left side of the column of data under C, the viewers then write “D:” to indicate where a sketch will be drawn. A sketch is then made of this aspect of the target (such as a structure) underneath D.

All of the above is ideally done on one piece of paper. Thus, with Enhanced SRV, viewers obtain a complete collection of data for each ideogram, including a sketch. This solves the problem of having all of the ideogram specific data being scrambled into only one Phase 2 and one Phase 3. But note that we have not yet “assembled the pieces.”

Viewers then repeat the above process in normal Phase 1 fashion, taking the target coordinates between three and five times, seeing if any of the ideograms return subsequent to the appearance of a different ideogram. However, it is preferable to repeat Phase 1 a fixed number of times in most instances, thereby avoiding conscious-mind analysis of the ideogram patterns during the session.


Most viewers tend to take the target coordinates five times since this allows them to obtain five complete collections of ideogram-related data, including five separate sketches. With such situations, viewers proceed to Phase 2 only after all five repetitions of Phase 1 regardless of whether or not an ideogram repeats early in the series.

Phase 2 is mechanically identical to that in Basic SRV, but now the viewer is free to “stand back” and look at the overall target site with a wide-angle perspective. The data are not limited to a particular gestalt (i.e., one ideogram). The sensory perceptions from all of the perceived gestalts compete (in a sense) for the attention of the viewer’s subspace mind. Thus, the data that are perceived in Phase 2 are generally those that make the strongest impressions on the viewer’s consciousness.

Phase 2 prepares the viewer to assemble the previously collected Phase 1 sketches into one composite sketch. This new sketch is performed in Phase 3. The Phase 3 page is positioned lengthwise (which, again, means the long side of the page is placed horizontally). Viewers can spend some time constructing their Phase 3 sketch, carefully contemplating the intuitive feel of the emerging sketch and placing each component in its appropriate place.

None of the previously sketched Phase 1 drawings need to be placed in the Phase 3 sketch. Indeed, many accurate Phase 3 sketches often do not appear elsewhere in the session. But viewers can place modified forms of any of the previously obtained sketches in the Phase 3 drawing should the intuitions be so directed.



Enhanced Phase 4 is highly interactive and nonlinear. With Basic SRV, the structure is predominantly sequential and linear, taking the viewer from one step to another, allowing minimal structural flexibility. This limits the intrusion of the conscious mind into the data-collection process.


Advanced practitioners of SRV® are sufficiently familiar with both the structure of the session as well as the “feel” of the data such that they can take advantage of a greater degree of structural freedom as they interactively pursue their quest to understand the target.

Using Enhanced SRV, viewers work with five pieces of paper simultaneously. Each page is used to accomplish something different from that of the other pages. The first page is the normal Phase 4 matrix. The viewers work the matrix and go after the “Big Three” in the same fashion as with Basic SRV.


However, there are some differences in the way viewers conduct other aspects of Phase 4, all of which are described below.

Tactile Probing
With Enhanced Phase 4, viewers extensively use their hands, and even their bodies, to explore the target. Once viewers have a mental image of the target, however fuzzy, they can then use their hands to “feel” the target, both externally and internally. With external probing, viewers tend to run their hands over the outline of shapes of things at the target site, like structures, mountains, and even faces.


With internal probing, viewers press their hands (usually from top to bottom, although there is no rule here) through the target, perceiving internal aspects of structures, and so on. In one of my own sessions, I clearly perceived that a structure had three floors during an internal probe. I made this determination using my hands. I also perceived that there were subjects on the third and first floor of the structure.

Tactile probing is not limited to the use of the hands. One can also place one’s head, or even one’s entire body into the target at any given spot. For example, in the example above, I then placed my head inside the structure to take a look at what was on each floor.


This was done by literally bending my head forward while sitting at my desk and placing my head in the middle of the projected image of the structure. I then discerned that the top floor contained two subjects, one a male and the other a female. The bottom floor had a large number of subjects milling about.

Sometimes a viewer needs to explore a larger image of the target, or perhaps a component at the target site, such as a complex structure, or even a tunnel that goes through a mountain. To accomplish this, the viewer can back away from the desk and mentally project the image of the target into an empty area in the room. The viewer can then walk or crawl into the target or target component to perceive what is necessary.

After all tactile probing is completed, the viewer returns to the Phase 4 pages and enters the data in the appropriate places. If the data are verbally described, then the viewer enters the data as ordinary column entries, or as P4 1/2T entries. Here, the T represents “tactile.”


Phase 4 Sketches
If at any time during the session a viewer obtains a visual image of the target, or an aspect of the target, the viewer must sketch this image immediately. Such mental images can arise during the process of probing the matrix, but they can also result from tactile probing of the target.


In Enhanced Phase 4, there are three sketch pages. These pages are labeled Phase 4I, Phase 4E, and Phase 4L, where the I, E, and L represent “internal,” “external,” and “landscape,” respectively. Instead of page numbers, the viewers write “a,” “b,” and “c,” respectively, in the upper-right-hand corners. All pages are positioned lengthwise.

When perceiving a visual image, the viewer decides whether the image is internal or external. An internal image has a sense of being inside something else. For example, the viewer may perceive the inside of a room, or the inside of a piece of technology. If the image is the first obtained during Phase 4, the viewer places the letter A in the physicals column, and then circles the letter. The viewer then goes over to the P4I page, marks a corresponding circled A, and then draws the internal image.

If the mental image conveys the sense of being an external view, such as the outside of a structure, an object (say, a chair), a subject, or anything else, then the viewer follows the same procedure described above, but places the sketch on the P4E page. If this is the second sketch in Phase 4, then the viewer writes a circled B in the physical column of the matrix, and on the P4E page. The drawing is then sketched near the circled B.

The Phase 4L page is similar to the Phase 3 page. Phase 4L is for putting pieces together. Many target aspects sketched on pages P4I and P4E can be located and redrawn in modified form in the P4L representation of the target. Phase 4L sketches are wide-angle representations of the target. The pieces can be assembled with considerable deliberation as well (that is, there is no reason to rush a P4L sketch).


However, the viewer does not have to draw a detailed Phase 4L sketch. Nor do any of the P4I or P4E sketches have to be transferred to the P4L drawing. Sometimes a P4L drawing is simply a larger or more detailed version of the most important aspect of the target. But the goal is to create a P4L drawing that displays a more complete perspective of the target than is available in any other Phase 4 sketches.

The Phase 4 matrix and sketch pages should be placed in the proper arrangement before beginning Phase 4. All four pages are arranged in a rectangular pattern, like tiles on a kitchen floor. In clockwise order, the matrix page is placed at the lower left, then the P4I page, the P4E, and finally the P4L page, next to the matrix page.
This arrangement creates a fluid interactive working area. The viewer must not have to search for the correct page when the need comes to move to a particular sketching area, or when referring back to other aspects of the target.

Most viewers fill up multiple Phase 4 matrix pages. After the first matrix page is filled, that page is removed and a new matrix page is inserted in the same spot. If the page number for the first matrix page is 9, then the next matrix page is number 10, and so on. The sketch pages use letters.


When the session is finished, all of the numbered pages are stacked sequentially first, followed by all of the sequentially arranged sketch pages.

When probing sketches (part of the “Big Three”), viewers sometimes use the back end of the pen rather than the point when probing is extensive. These data are often shown to others, and are sometimes displayed on the Internet as well as in print. In this way, advanced viewers avoid degrading the publication quality of their data by scattering too many probing marks on their drawings.


An Analytical Worksheet in Phase 4
It is often necessary to explore the target in Phase 4 using some of the analysis techniques of Phase 5. This is particularly true of symbolic diagrams that allow the viewer to describe relationships between various subjects, or between subjects and objects.


Such abstract diagrams are not sketches, and thus cannot be placed on a sketch page. These are executed on a Phase 4 worksheet page, or Phase 4W page, where the W represents “worksheet.” The viewer creates this worksheet together with the Phase 4 sketch pages.

The Phase 4W page is set lengthwise, and “P4W” is placed centered at the top of the page. The page “number” is d. The worksheet page does not need to be arranged in any particular place in front of the viewer. Normally it is kept to the side until needed.

A symbolic diagram in Phase 4 resembles that done for Phase 5. The viewer needs to draw two symbols (if there are two components to the symbolic diagram), label these symbols, and then draw a line between them and label this line “relationship.” The viewer then enters the labels for each of the symbols in the Phase 4 matrix in the appropriate columns, all along the same horizontal row.


The word “relationship” is placed in square brackets in the concepts column on the same horizontal row as the labels for the symbols. If one of the target aspects being explored is a subspace aspect, then the label for that aspect is entered in either square brackets or parentheses in the subspace column. The choice of square brackets or parentheses is determined by whether or not the word used to label the target aspect originates from the viewer’s own data (which would normally be the case with a solo session).


If both target aspects being explored are physical aspects (such as a subject and a structure), then the labels for both aspects are placed in the physicals column, separated by a slash, in one set of either square brackets or parentheses.

It is permissible to combine one square bracket with one parenthesis if one label does not originate from the viewer’s own data while the other label does. For example, entering “[central target subject / structure)” in the physicals column indicates that the words “central target subject” does not originate from the viewer’s own previously obtained data, yet the word “structure” is an earlier matrix entry.

The viewer then probes the symbols on the P4W page, as well as the relationship line, and enters whatever data results from these probes in the Phase 4 matrix.


A Specialized Level-Two Movement Exercise
Most target cues contain a variety of diverse qualifiers that address separate aspects of a target that the tasker wants explored. In order for advanced remote viewers to shift their awareness through these separate aspects, a modified form of a level-two movement exercise is used.


The cue is as follows:

Move to the next most important aspect of the target and describe.

This cue is often used three or more times in a session. One stops using it when either repetition or tiredness appear. Advanced remote viewers do not use level-one movement exercises with as much frequency as novices, since they do not lose contact with the target as easily.


Thus, advanced viewers have more time in the session to execute a larger number of level-two movement exercises. Experience has shown that the above level-two movement exercise is highly effective in assisting a viewer to obtain a wide variety of target data.


Whenever viewers have a two-response question that needs to be answered in a session, they can use an advanced binary procedure to get the answer. To execute a binary, viewers put a letter (circled) in the concepts column of Phase 4, just the same way one would put a letter in the physicals column while making a sketch of something in Phase 4.


Viewers then go to the Phase 4W page, write the letter (circled) and then do the binary procedure on that page. To do the procedure, viewers first write the question that needs to be answered. They then draw a long rectangle with a line down the center. The possible answers to the question are written at that time, one above each half of the rectangle.


Viewers then put their pen in the center of the line that divides the rectangle, and the pen flies immediately to the correct side. An arrow head is added at the end of the quickly drawn line. Viewers then probe the centers of both halves of the rectangle to confirm their findings.

Binaries are very common in Enhanced SRV, especially near the end of a session. Some viewers even ask if they have satisfied the purpose of the target cue (or if they need to continue with the session).


The following is an example of a binary procedure.

Back to Contents