Remote Viewing in Hawaii: continuation of the Staff Reports thread

Great Debates
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Greetings, GDenizens! :smiley: Here’s a link to the Staff Reports thread. Remote Viewing in Hawaii

Dex has “strongly suggested” that we move this to Great Debates, as he says it’s just turning into a witnessing thread. I am hoping that Petra, Rainfall, Mana, Kahealani, and others will come in here, not necessarily to get hammered, but to have a dialogue. The Straight Dope Message Board is happy to offer them a venue to discuss remote viewing.

I am hoping that once we’re all on the same page, information-wise, and have a better idea of what remote viewing entails, we can maybe have an actual discussion.

Introduction

When you look on the Web for information about remote viewing, the one thing that’s conspicuous by its absence is any information on how it works, the actual procedures to follow. All the other paranormal/parapsychology disciplines (if that’s the word I want) have plenty of info out there on “how to do it”. Tarot cards, automatic (spirit) writing, Ouija boards, ESP experiments using Rhine cards–you can put them into Google and get dozens of hits telling you, for example, exactly how to lay out tarot cards and interpret them.

But one of the first things that struck me, when Petra started this thread in Staff Reports, was the lack of info on “how remote viewing works”. A Google search for it turned up lots of websites that wanted to enroll me in a course, sometimes for hefty sums of money, but nobody out there has “10 steps to remote viewing” posted on his web page next to pictures of his motorcycle, his dog, and his girlfriend. Repeated requests for information made to Petra producing no results, other than being directed to look at the HRVG’s FAQ, which didn’t give much actual nuts-and-bolts info, I finally rummaged around and found an on-line training manual on the Farsight’s Institute website. I also worked my way through the HRVG’s FAQ, but as I said, it wasn’t much help.

I will tell you in advance that there is nothing on either website about the post-session analysis procedures–it seems to be totally subjective and is almost certainly performed by people who know what the target is.

There are portions of both documents that, although they are written in English, are nevertheless incomprehensible. As I don’t want to be in violation of copyright laws, I will put a row of question marks, thus ???, whenever I get to one of those parts, and interested parties may go to the linked page and read it for themselves.

I am dividing this up into nine separate posts (yes, that’s 9, :eek: ), corresponding to the pages in the Farsight’s manual and the HRVG’s FAQ, cheerfully impervious to any charges of post count padding. :smiley:

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Farsight Institute – Overview.

Target Coordinates

The “viewer” focuses on a “target”, which can be a person, place, thing, or event. It can be an actual photograph of something, or it can just be a concept, like “the sinking of the Titanic”. The target is assigned a coordinate number, usually two randomly generated four-digit numbers or letter combinations. The viewer is not supposed to know what target the coordinate number represents, and is not told what the target was until after the session is over.

How is the target coordinate actually given to the viewer? In this version, it can be faxed or e-mailed from the tasker, the person who assigns a target. In other sessions, they are read out loud by the monitor, pronouncing the letters and/or numbers slowly and clearly. (This is covered in Phase 1–The Ideogram.)

The Protocols

It is not clear whether there are rules about whether any other viewers can be in the room with the viewer or not, or whether talking (feedback) is allowed while the supposedly solo viewer is drawing ideograms.

There are five phases in the Farsight version, which are all completed in order to make up a “session”. Not only does the viewer draw pictures, but he also pushes physically, with the pen or pencil, on the drawings he’s made, to encourage more data to come out.

Phase 1–the viewer draws an ideogram on a sheet of paper. There are standardized ideograms, or the viewer may improvise. Then it is “decoded”. It is not explained what “decoding” means.
Phase 2–??? (but later on it will turn out to be choosing adjectives from word lists)
Phase 3–is supposed to be a “sketch”, by whichit means “as opposed to a simple ideogram”.
Phase 4–??? (but later on it will turn out to be writing down more words)
Phase 5–One part of this can be drawing a map of where the target is located, but otherwise ??? (but later on it will turn out to be more drawings and words)

Categories of Remote Viewing Data

There are three of what I would call “settings” that can be applied to each viewing, depending on how much information about the target the viewer has. Now, I would have said that the ideal method would be to have no information at all, but evidently this is not always the case.

First, the viewer can have absolutely no information about the target, other than its coordinate number.
Second, the viewer can work with another person who is called a “monitor”. The monitor frequently knows what the target is, and can make suggestions (see “cuing”).
Third, is determined by “how the target is chosen”. ???

There are six kinds of data that can be obtained. They depend on how much information about the target the viewer has ahead of time.

Type I Data: This is when the viewer has a session alone and picks a target of which he already has prior knowledge. An example of this would be when you were practicing at home, by yourself, and decided to remote view the big tree in the front yard, or the sinking of the Titanic. Type 1 data evidently doesn’t get a lot of respect from the rest of the group, always having to be corroborated by others before any new insights into the sinking of the Titanic (or the big tree in your front yard) will be accepted by the group.

Type 2 Data: The viewer has a session alone but the target is selected at random from a list of targets, identified only by their coordinates. This is done by either a computer or another person. So, for example, even if the viewer knows what photos are on the list because he helped put the list together, ideally he’s not supposed to know which number has been assigned to which photo.

Type 3 Data: The viewer has a session alone, the target is selected by a “tasker”, but the viewer may be given some additional information about the target from the tasker. The example given is “whether the target is a place or an event”. When this happens, the other person that’s giving hints is called a “monitor”. I think it’s significant that this is specifically mentioned as something that’s helpful for newbies. I can see where it would be very encouraging to be a newbie working with a monitor. I must quote this:

I can imagine. “Wow! My first time out, and I saw Custer’s Last Stand!” :smiley:

Type 4 Data: This is where the monitor (not just the tasker, but the person who’s specifically there to give hints to the viewer), knows what the target is, and is supposed to give these hints telepathically, not verbally. Using telepathy, the monitor is supposed to tell the viewer " what to do, where to look, and where to go".

Type 5 Data: This is where neither the monitor nor the viewer knows what the target is, other than its coordinates. Usually a computer is the tasker, working from a computer-generated list. However, the monitor IS given “scripts” ahead of time, and I will quote:

??? It is not explained who writes the scripts. Also, it is not clear whether in gathering Type 5 data, the monitor is allowed to speak, or whether the hints must be given telepathically.

Type 6 Data: This is where both the viewer and the monitor are familiar with the target, such as the sinking of the Titanic. It doesn’t say whether the monitor’s hints are given verbally or telepathically. It says that Type 6 data doesn’t get a lot of respect any more.

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Farsight Institute – Cues.

Target Cues

This is saying that it’s very important to have the “target cue” correctly phrased. The “target cue” is the phrase that identifies the target, such as “the sinking of the Titanic” or “the big tree in your front yard”. I don’t understand why it should be so important to have a properly written target cue if the viewer is just going to be viewing a random number or letter combination. Of course, for the sessions where a monitor is going to give verbal hints, either with or without a script, I can see where it would be important to have a properly written target cue.

How to write a good target cue: It needs to have three parts–the “viewing parameters”, the"essential cue", and the “qualifiers”.

The viewing parameters are composed of three parts. First, there is the target coordinate (the random combination of letters or numbers)

Second, there is the “target range”. ???

Third, there is the “time frame”. You have to include an exact date because evidently the remote viewer, when he’s busy remote viewing, exists in all time simultaneously, and it’s too confusing. How is he supposed to know which sinking of the Titanic he’s supposed to be viewing? Evidently you have to specify, “It’s the one in 1912.”

The “essential cue” is the short and sweet description of the person, place, thing, or event, such as “Marie Antoinette” or “The Invasion of the Body Snatchers”. This is called the “primary essential cue”. Sometimes you need to refine this by adding what are called “secondary” essential cues, such as “Marie Antoinette/goes to the guillotine” or “Invasion of the Body Snatchers/the remake”.

It’s important that your essential cue not have anything other than plain facts, no speculations or conclusion. The example given is that “JFK assassination” is good, but “JFK assassination/conspiracy” is bad, as it calls for a conclusion being drawn that there was in fact a conspiracy, and evidently one cannot remote view a conspiracy theory.

However, it is possible to get a look at the JFK assassination conspiracy. What you do is, you give the viewer “JFK assassination” as an essential cue, and then you give the viewer a list of qualifiers (see below), that would direct his attention specifically to, say, the grassy knoll, or what’s in Lee Harvey Oswald’s mind, and then in the analysis that follows the session, the analyst can check for any data that seems to support a conspiracy.

It’s also interesting to note, that by this same token, one cannot use “How to live with extraterrestrials” to remote view extraterrestrials, because that would be calling for a conclusion that extraterrestrials exist. However, again, there is a way around this. You use a photo of a UFO as a target, and then the viewer goes inside the UFO and remote views the extraterrestrials that are in there flying it.

The qualifiers are phrases or sentences that tell the viewer what to look for, what to look at, what to notice. There are a number of examples on the linked page.

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Farsight Institute – Phase 1

Phase 1

The Header: You write your name at the top of the paper, plus how you are feeling. You write the date. You write your code name or number–your “viewer identification number”. You write what time you began the session. You write what Data Type you’re going to be looking for, and the name of the monitor, if any.

The monitor reads the target coordinates out loud to you, you write them down, and directly to the right of them you draw the first ideogram, not lifting the pen from the paper until you’re done. This should take only a moment. It’s like automatic or spirit writing–just let the pen moves as your subspace mind leads you.

You write the letter “A” next to this, with a colon next to it, and then you describe how the pen moved, using words like “upward”, “downward”, “curving”, etc.

Now you “probe the ideogram”. You push the point of the pen down into the line you just drew, a few times, and try to pick up feelings about the target from this, choosing a word from the following list: “hard, soft, semi-hard, semi-soft, wet, or mushy”. This word is called the “primitive descriptor”, and you have to pick one. You write it down under the ideogram.

If you also pick up feelings of movement or energy from the ideogram, that’s okay, you will also probably perceive a “primitive descriptor”, and if so, just write it down, too. However, if you only perceive movement or energy, and none of the six other primitive descriptors, then that’s okay, too, just skip the primary descriptors and go on to the next part, which is the “advanced descriptors”.

There are five advanced descriptors: “natural, man-made, artificial, movement, energetics”. Again, you pick one, and write it down under the primary descriptor.

Now you go back up to where it says “A” and you write “B” underneath it, also followed by a colon. Then next to the B you write down what you think your ideogram represents. If you don’t have a clue what it is, you write “No-B”. This is very common, so don’t feel bad. But you have to write at least a “No-B”.

For newbies, a list of “B” possibilities is offered. These are:" No-B, structure, water, dry land, wet land, motion, subject, mountain, city, sand, ice, swamp". Pick one.

Once you’ve gotten past the stage of needing suggestions,and you can make up your own mind about what your ideogram represents, still you’re not allowed to be too specific. You can’t say “it’s a skycraper”, you can only say, “It’s a structure of some kind”. It’s a capital mistake to theorize in advance of the data, and you haven’t got enough data yet to tell whether it’s a skyscraper or a bridge or the warehouse in Area 51.

Next, you write down “C:” (under B, of course), and then you write down your feelings about the ideogram. This usually involves adjectives–color, size, texture, etc. You can also write “No-C” if you have nothing more to add.

So, when doing a session with a target, you repeat this entire process three to five times. That’s Phase 1. It’s important to realize that just because you may not have had a clue what your ideogram represented the first time around, don’t worry. It will become much clearer every time you repeat Phase 1.

You can practice drawing ideograms, too. There are some standardized ideograms. The teacher will say, “Structure”, and you quickly draw a “structure” ideogram.

Also, if, while you’re doing Phase 1, you suddenly realize what the target is, this is called a “deduction”, and you have to try to ignore it. For example, if your ideogram and your feelings are all of kites, balloons, fireworks, and TWA Flight 800, and it suddenly pops into your head that the target must be the explosion of the Hindenberg, you have to write “D:” under C and write next to it, “Explosion of the Hindenburg”. The physical act of writing down your deduction will purge it from your subspace mind.

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Farsight Institute – Phase 2

Phase 2

You start with a new sheet of paper, and you write “P2” up at the top. Phase 2 is what I call the “Chinese menu” portion of the program. There are lists of adjectives provided (which may be found on the linked page), and you pick one from each list. However, if you’re an experienced remote viewer, you are of course permitted to choose your own words. It’s just that the newbies find it helpful to have the word lists provided.

There are word lists for sounds, textures, temperature, colors, luminescence, contrast, tastes, and smell. After you’ve completed this, you will have a much better sense of the target.

Next you write “Mags” which stands for “magnitudes”, and you choose from a list of six more lists, called “dimensions”, this time with more general adjectives such as “tall”, “curved”, “hollow”, “slow”, etc. You have to make adjective selections from at least three of the dimensions lists. If you can’t do that, then it’s obvious that you’re editing your data, which is bad.

If a newbie claims that he just can’t perceive anything, this is almost always because he’s feeling doubtful about what he’s doing. The cure for this is for the instructor to encourage him to keep writing words down anyway, because it doesn’t matter what his conscious mind is doing, as long as what’s it’s doing is things connected with remote viewing, not with things connected to,say, hot babes in tight bikinis.

Anyway, by the time you get done with the dimensional magnitudes, you ought to be having some very strong feelings about the target. You write down “VF”, for “viewer feeling” and then write down your feelings about the target.

You can’t move on to Phase 3 without having something written down for VF. A word list may be provided, but a simple “I feel okay” is sufficient.

Farsight Institute – Phase 3.

Phase 3

In Phase 3, you draw a complete sketch, which is supposed to be done fairly quickly, in from 1 to 5 minutes.

If this is a Type 4 data session (the monitor knows what the target is), the monitor begins to interpret the viewer’s results immediately, using some of the sample guidelines that may be found on the linked page.

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Farsight Institute – Phase 4.

Phase 4 - The Matrix

In Phase 4 you get a clean sheet of paper, write “P4” at the top, and draw nine columns and write down the words from Phase 2 in them. This is called the “matrix”.

Column 1, called “S” for “senses”, gets all the words having to do with the five senses.
Column 2, called “M” for “magnitudes”, gets the dimensional magnitudes words.
Column 3, called "VF’, gets the Viewer Feeling words.
Column 4, called “E” for “emotionals”, is different from VF in that it’s supposed to be words relating to any emotions (“vibes”) you’re detecting coming from the target itself. VF means “how you feel about the target”.
Column 5, called “P” for “physical”, is for physical objects that you perceive at the target, like houses, cars, planets, etc. However, if you detect nonphysical beings (subspace entitities), you should put them in a column next to P, Column 6, called “Sub” for "subspace.

And if the subspace beings that you are detecting are also experiencing emotions, you should put these emotions in “E”, with “S” for subspace next to it.

Column 7, called “C” for “concepts”, is for ideas that apply to the target, like “dangerous”, “adventuristic”, “insignificant”, etc.
Column 8 called “GD” for “guided deductions”, which is explained below.
Column 9, called “D” for “deductions”, which is also explained below.

After you have this all written out, you push on the writing with your pen here and there (“probing”) for a few seconds, detecting more information. When you’re probing, you have to stay at the same horizontal level, working from left to right across the paper. So if you perceive two or three different things about the target at the same time, while you’re probing a particular spot on a column, you should write these things at the same horizontal level in the appropriate columns. That way the analyst will know that “brown” and “structure” go together, because they’re on the same level.

You write down these words in the appropriate column. However, you do not probe the VF and D columns. While you’re probing other columns, you may start to have feelings about the target, so you write them down in VF. But this is only if you actually happen to feel something–you don’t go looking for feelings. Similarly, you’re not supposed to be looking for deductions, so if any pop into your head, you’re supposed to just write them down in D, and the act of writing them down eliminates them from your subspace mind.

But you do probe the GD column. A guided deduction happens because your subspace mind knows that your conscious mind finds it frustrating not to be allowed to make a deduction about the target, so you probe the GD column. This allows your subspace mind to send some hints up to your conscious mind, and you write down what you perceive in GD. This is just to make your conscious mind more comfortable.

In Phase 4, it’s important to distinguish between high-level and low-level data. High-level data means descriptive words that are very specific. Low-level data means words that are more general. The example given is if the target is a beach, high-level data would be words like “beach”. Low-level data would be words like “sand”. High-level data should go in the D column, because it’s really a kind of deduction about the target. Low-level data goes in all the other columns.

In Phase 4 there is a thing called P4 ½. This is where what you perceive is too lengthy to fit in a little box in a column. So you write P4 ½ over on the left side of the paper, and then the words that won’t fit in a column.

There is also a P4 ½S, which is a sketch. You do the sketch on a clean sheet of paper, labeled P4 ½S.

When you’re a newbie, you’re supposed to not stop doing Phase 4 until you’ve got at least two pages of data.

All of this, probing the matrix and writing down words and making P4 ½S sketches, is called “working the target”. You keep at it, back and forth, up and down, tying things together, and getting more information. When you’re getting tired and it seems like you can’t get any more information, you go back to the E column (even though you’ve been probing it all along with the other columns) and make a special probe. Your subspace mind looks specifically for emotions and concepts emanating from the target. This usually causes the data flow to pick back up. Every time you get tired, you can probe the E column and usually get the data going again.

When probing the E column finally fails to get the data flowing, then it’s time to probe your Phase 3 sketch. You write down any data obtained from the sketch in the nine columns. You can go back and look at your Phase 1 word lists to help you perceive things in the sketch, correlating it all with what you’ve got in your Phase 4 matrix. You can look for geographical “interfaces” in your Phase 3 sketch, like “land/air”, “land/water”, “air/vacuum”, etc. If you’ve got “air/vacuum” and “structure”, that means the target probably involves a spaceship. This is of course a deduction and should be written down in D.

In Phase 4, to get more data, you can do “cuing”. It’s a way of focusing on a specific word, looking for more data about that word. You write the word down in the appropriate column in parentheses (if the suggested cuing word comes from a monitor, you write it in square brackets), and then you probe the word with your pen. This should give you more data flow. You enter this data in the appropriate columns.

You can also do “Movement exercises” in Phase 4, which come in three levels. Level 1 is drawing another Phase 1 ideogram and then giving it the Phase 2 (word list) and Phase 3 (bigger sketch) treatments before returning to Phase 4. One reason to do this would be if the monitor thinks you may have gotten off-target. It is not clear how the monitor would know this, unless he knew what the target was. Another reason would be if you had the feeling that the target was too big to be encompassed in one remote viewing, so you’d use Level 1 to go look at another part of the target, and see if that helps clarify matters. You do a separate Phase 4 matrix for this. There are cues for this procedure, telling you where to look and what to look for during a Level 1 exercise. (these may be found on the linked page).

A Level 2 exercise is basically the same idea, meant to be a shift in focus, except that there is only one cue: “Move to the [new target location or item] and describe.” There is one variation: “Move to the time (or period) of [temporal identifier here] and describe.” There is no ideogram or sketch in this, only words. This cue comes from your own words that you have written, but the monitor may assist you in drawing your attention to some of your words that may be better bets than others for getting the data flowing.

The cue has to be clearly tied to the target. The example given is that if you have the words “pyramid” and “structure”, the monitor can suggest, “Move to the period of construction for the structure and describe.”

A Level 3 exercise is the briefest–you just pick a word that you have already written and look at it more closely by writing it in parentheses in the appropriate column (or in square brackets if it’s the monitor’s word), probing it with the pen, and then writing down the data in the appropriate columns. This is different from Level 1 in that there’s no Phase 1, 2, or 3 involved, just the quick look at the single word.

There is a kind of Level 3 exercise called a “deep mind probe”, in which you actually enter the mind of a person who appears in your data, and perceive his thoughts and feelings. However, the ethics of performing this on a living person are questionable at best, according to the Farsight Institute. The ethics of performing this on someone who’s already dead, or on extraterrestrials or animals, are not addressed in this document.

You write [the name of the target person] in Physicals and [deep mind probe] in Concepts. Then you touch each of the words once with your pen and write down any data obtained in the columns.

You can also do a Level 3 “temporal exercise” by cuing on action-related words, which should always be put in square brackets in the Concepts column. You can use something like “activity”, and then touch the pen to it, and write down any data.

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Farsight Institute – Phase 5

Phase 5

On a clean sheet of paper, write P5W, which is the worksheet, and on another write P5M, which is the matrix (the nine columns). The worksheet goes on the right of the matrix. The Phase 5 matrix is identical to the Phase 4 matrix, and P5 1/2 entries are made the same way as P4 1/2 entries (that was where what you perceive is too long to fit into the column, so you put it over at the side, labeled “P5 1/2”).

Your work “sheet” can actually be more than one sheet of paper. You label them so as to keep track of which sketches and word lists spun off of which other sketches and word lists, like “23a”, “23b”, etc.

Then you do the following steps.

  1. Timelines: You draw a horizontal line in the middle of the worksheet, and you probe it, looking for the general time period of the target, which at this point is still unknown to you. You’re not supposed to probe for a specific year, just a time frame. You can also be cued by the monitor to probe for other dates and time periods, such as the current time, or the dates of famous events in the past. The target’s date is referred to as “Event A”, or just “A”. You mark this on the timeline, along with the other points or events, labeled as “B”, “C”, and so forth.

  2. Sketches: You draw more detailed and analytical sketches on the worksheet, and you probe them. Data from the probes is written in the Phase 5 matrix. While you’re doing this, the monitor can suggest that you “slide”, which is explained below.

  3. Cues: The monitor can suggest cues derived from the Phase 4 results. Your own words are entered into the matrix in parentheses, the monitor’s suggested words in square brackets. Then you probe these and enter the results.

  4. Locational sketches, i.e. maps. The monitor suggests you draw an actual representational map, of some known geographical area. Then the monitor says the name of a well-known city or geographical feature and you put your pen down on the map at the city or feature, and draw a line from there to the target’s location. If it’s a curvy line, that means you were letting your conscious mind interfere. It should be a straight line.

  5. Symbolic sketches: If you want to look at some specific parts of the target, the monitor will suggest some symbols for you to draw. A circle may stand for a person, a square may stand for a government, etc., but you will not be told anything other than “target group” or “target subject”. You draw the symbols, draw lines connecting them, and probe the symbols and the lines, and enter the data.

Sliding is a movement exercise, and happens when the monitor suggests you move from one location to another in the target by drawing a small circle on your Phase 5 worksheet and labeling it “A: location #1” with the location being wherever in the target it is–upstairs, outside, underneath something. Then you draw another small circle somewhere else on the worksheet, relevant to what the monitor wants you to go look at. If you’re upstairs, and the monitor wants you to go look around downstairs, the second circle should go beneath the first circle. You label the second circle “B: location #2” with the location being where the monitor told you to go. Then you draw a line between the two circles and retrace the line gently, to go back and forth between the two locations. The data from this is entered into the Physicals column, inside square brackets (because it was the monitor’s cue), with the letter A or B in front of it.

Farsight Institute – Enhanced SRV

Enhanced SRV

Phases 1 through 5 as described are Basic Scientific Remote Viewing. In Enhanced SRV, these basic techniques are expanded. What it amounts to is spending a lot more time on each phase, with a lot more worksheets and matrices, and sometimes even getting tactile impressions from your hands and body off the ideograms, sketches, and word lists.

8

Okay, not nine posts, sorry to scare everybody. I discovered I could consolidate some of them.

The Hawaii Remote Viewing Guild – The FAQ.

Reading the Session data.

Sessions include:

“Visids”, which are “visual ideograms” produced during “Blackboard drill”. ??? “Blackboard drill” is not explained. “Sponids”, which are “spontaneous ideograms” produced at some point which is not explained. Sponids are then probed for the following qualities: Complex/simple; hard, soft, semi-hard, semi-soft; manmade/natural; dynamic/static. The difference between visids and sponids is not explained.

This would all seem to correspond to Farsight’s Phase 1.

"Playfair" is the matrix of columns, which is Farsight’s Phase 4.

There is a variation called “S2 NIMO Playfair” which is where instead of probing the sponids, you probe the NIMO, which stands for “neuro interrogation mask overlay”. What this is, is not explained. The rest of the S2 NIMO PLAYFAIR paragraph is ???.

S2 Phonics: ???
S3 Consolidation: All the data collected so far is recopied onto a single page.
Cascade: From the description this sounds like Phase 4 probing and collecting data, but the actual mechanism is not explained, other than to say that “individual aspects of the target…[may be] taken to blackboard for visual acquisition”. Is this saying that this is all being written on a blackboard? The rest of the paragraph is ???.
Edging: is deep-breathing exercises.
S5 Morpheus: ???. Refers to “pushing blackboard”. ??? However, it does note that a monitor is needed–for what reason, is not explained.

My Conclusions

There is a fair amount of input by the monitors at several stages of the session, not only by monitors who don’t know the target, but also by monitors who do.

There is nothing that I could see on either website about the analysis procedures, about how it’s decided that a viewer is seeing “Custer’s Last Stand” or “the sinking of the Titanic”. There are references in the Farsight manual to the actions of an analyst, but the procedures are not explained. If I simply overlooked it, because there was a TON of stuff on the Farsight Institute’s website, I’d be happy to read through it, too, if someone will post a link.

Questions

  1. First and foremost, I would like more details about the analysis procedures. Petra made a reference in the Staff Reports thread to “anomalous bits” that are discarded during the analysis. I’d like more information about who decides which bits to discard, and what the criteria are.
  2. I would like to know more about the various HRVG techniques, such as NIMO, “pushing blackboard”, etc.
  3. I would like more details about the HRVG’s September 10 session, particularly about how much cuing was going on, what the raw data used in the analysis was, and whether the session was indeed a group effort, with people writing things on the blackboard, or whether the individual sessions that were posted in the article were accomplished by individual viewers in privacy. I find it remarkable, after reading Farsight’s manual, that people should have come up with identical things like ladders, dogs, and propellors, without some sort of cuing going on, either from a monitor or from other viewers.
  4. Is the Farsight’s method the same as the HRVG’s, or are there substantial differences, and if so, what?

Suggested Experiments

Well, aside from the obvious, and already mentioned, “send 20 people into separate cubicles with the same target number and see how similar their work is”, I can think of ways to do other experiments that maybe wouldn’t be quite so make-or-break.

The easiest experiment would be to have the sessions analysed by people who didn’t know what the target was. This could be people who were trained in remote viewing–I’m not saying “complete outsiders who will make fun of the squiggles”. But I am going to assume, until someone informs me otherwise, that all the analysis is carried out by people who know what the target is, and that that’s how they know which “anomalous bits” to discard. So you could give the raw data to 20 different analysts, put them into cubicles by themselves, and see how similar their answers were when they came out. I’d even be willing to grant you similarities in answers such as “Stonehenge”, “the Egyptian pyramids”, and “the Great Wall of China”, because they are all large, stone, man-made objects. Or answers like “the shoreline of Lake Michigan”, “the South Rim of the Grand Canyon”, and “the atmosphere”, because they are all interfaces.

There are other experiments you could perform. Have the same photo but with two different target numbers. Give one target number to one group of people, and give the other target number to another group of people. See how similar their raw data is.

Alternatively, you could have 20 different photos with the same target number. Then you give these to two different groups. The first group is all together in the same room, working together, and they are aware that everybody in the room is working the same target number. The second group is also together in a room, working together, but they are not told the target numbers of the other people in the group. As far as they know, they’re all working on different targets. Then compare the similarities between the raw data of Group 1 and Group 2. I would predict that Group 1 would have many more similarities to each other’s work, because they thought they were all working on the same target. But I would predict that there would be very few similarities between the raw data of Group 2’s members, each of whom thought he was the only one working that target.

9

Dammit, sucked in AGAIN !
This thread has nothing to do with remote viewing of astronomical objects with the Keck telescopes in Hawaii. :confused:

http://www.state.hi.us/dbedt/ert/key/key-astro.html

10

Sorry, Squink. Want me to e-mail a mod to have the thread title edited? :smiley:

Er, am I imagining it, or do the Keck telescopes look just like Felix the Cat’s eyeballs?

11

Sorry DDG but for those of us with a limited attention span, would you mind concisely summing up what we’re debating here, and what your position is.
[sup]I tried to read all that stuff up there, honestly I did, but my head went numb[/sup]

12

Sure, no problem. :slight_smile:

You get a writing implement of some kind and some paper, and you focus on an 8-digit number or a letter combination that represents a person, place, thing, or event, and you draw whatever pops into your head, trying not to “think” about it too much. Then you look at some lists of adjectives, and pick some that you feel apply to the thing you just drew a picture of. You can also make up your own adjectives. You do this a lot. Oh, and usually somebody called a “monitor” will help you by making suggestions as to what it is you’re looking at, and what it is maybe you’re seeing.

After you’re tired of doing this, you hand all the paperwork over to other people to analyze, and they tell you, “Congratulations, you just remote viewed the Battle of Waterloo!”

And you’re not allowed to do drugs or think about hot babes while you’re remote viewing, because it messes up the signals from the subspace mind.

And it’s unethical to use this technique to read people’s minds.
It’s not a debate yet, not until the other team shows up. Somebody from the Hawaii Remote Viewing Guild started a thread last week in Staff Reports, saying that David’s Staff Report on the CIA’s using remote viewing was a “wee bit critical”, and the rest of us responded with questions about remote viewing, but so far all that’s happened is that various members of the HRVG have registered, posted witnessing-type “I believe!” posts, but have not answered any of our questions at all.

So Dex finally said, “G’wan, geddoudahere, go witness in GD…” So I’m providing them a place to witness.

So it’s not really a debate yet. And my position is that it’s a lot of fascinating hooey, but if they’ve got any kind of scientific evidence at all (which they said they did), I’m willing to listen.

13

Thanks.

I did pop in and have a look at the other thread you started on this, and I tried out that test thing where you empty your mind and think of that number; the image I saw in my mind’s eye was of a fish, the image I was supposed to see was a dolphin, which is, of course not a fish, but an insect.

14

I visited the HRVG Message Board, and it consists of a handfull of true believers that apparently assume remote viewing to be a scientific fact. After reading several months worth of posts, I couldn’t find one person who questioned the reality of remote viewing, which seems to be pretty incredible.

15

But, if you think of it as a “religion”, it makes sense. You wouldn’t go over to the Pizza Parlor and read several months worth of threads and come away shaking your head incredulously, saying, “I can’t believe there wasn’t one person who questioned the reality of God”.

Eh, Mangetout, I didn’t start that other thread–that one was started by a representative of the Hawaii Remote Viewing Guild.

16

Surely I wasn’t the only skeptic to ever visit the site! In the other thread, we were invited to come over and ask questions, as long as we weren’t rude n’ crude, so to speak. Do you think it might be run like some religious sites, where the “wrong” questions just aren’t tolerated?

17

I tried the same test and saw pointy minaret-like things and a rounded thing. I think it was the Taj Mahal. Then I checked the answer and they said it was a dolphin.

However, there were comments in the earlier thread about experiments being biased through using ambiguous numbering, and as the test used only 4 digits I’m left wondering:

a) Did the connections get crossed and I really did view the Taj Mahal because the number 1278 (IIRC) was associated with it somewhere else (like the phone number for some Taj Mahal Curry Takeaways or one of the 84 web page hits google gave me for searching +“Taj Mahal” +1278), or…

b) It’s all a crock.

Personally I don’t think I have enough information at this point to make an informed decision… but my naturally skeptical and cynical nature is tending to one of the above answers. :slight_smile:

18

Actually, Czarcasm, almost all of the remote viewers in the HRVG started out as skeptics…only after learning the process and proving it to themselves, they became believers. There were many (I have been with the Guild almost from its inception in 1997) who became so frightened by the “success” of remote viewing that they were scared off from continuing with it…

OK, picture this: you are given only the target ID, H7X2-D9E4 and no other information about the target. You set about your business of working a RV session following a precise set of protocols (the description of these protocols would fill this BB for hundreds of pages).

In the first set of protocols you get the first actual “LOOK” at the target. In VISIDS 1, you perceive through the murky granular density of what we call BLACKBOARD (the space where we look for target visuals), blurry motion and an angular aspect that has mass. In VISIDS 2, you percive pretty much the same but in VISIDS 3 you begin to see more clearly a group of moving lifeforms and a structure that has vertical aspects and openings.

In the second protocol, you intend to focus on perceiving basic gestaltic concepts about the target. In SPONIDS 1, you perceive that this target is complex, semi-soft, natural and dynamic and in SPONIDS 2, you perceive simplex, hard, man-made and static. (Albeit, that most targets would/could/may have these gestalts, the target could have been simplex, wet, natural, static or any number of gestalts. The viewer at this stage of contact with the target signal line is just gathering broad, low-level data to help focus his RV senses to the target signal line).

In the Third protocol, Playfair Matrix, where you look for visuals and then gather other related sensory data to that visual in terms of sounds, smells, tastes temperatures and textures. This protocol allows the viewer to collect sensory data streams around a visual and gives a contextual framework for the target data. Here, you see a lot of blurry motion and vertical aspects with shouts, shuffles, sweat, anger cold, hard, bumpy. Then you see a large mob of people, hear screams, it is cold and things feel course. Then you see a multiple verical aspects and a lot of people, hear cars, smell gas fumes, it is wet and dreary.
Then you focus on the crowd of people, hear angry crowd sounds, smell gunpowder,it is cold, wet and feel metal. Then you get men in formation, loud voices, tear gas, cold, grabbing flesh…

In S2, you see more crowds, hear shuffling, shouting, banging, get concepts such as riot, coup, hiding, guarded, storm political headquarters.

S3 shows a composite of all this data as a two storied building with columns, guards, angry mob in front in a plaza type setting with tall lamposts and a car.

In Cascade, Land 1, you see a building with columns in a clearing or square, 3rd world feeling (Leningrad, Stalingrad)

Structure 1 shows you a mansion for political leader, international control center.

Life:Human 1 shows you a solid mass of people, protesting, initiating a coup, chanting, shouting, rallying, ready to attack, overthrow. ( These are the exact words taken from the session. Now remember, the viewer did not know what this target was, only the target ID H7X2-D9E4).

When the viewer gets the feedback that the target is “Russian Revolution / Overthrow of Czar Nicholas II / Photographic Timeline”, knowing that she had not any clue as to the nature of the target before sitting down to execute the protocols, how could she NOT believe that Remote Viewing works?

Learning to Remote View makes you a believer. One of the strongest operational viewers came in as a die-hard skeptic…maintained his skepticism for months even after numerous hits of the level that I just described above. Seeing IS believing. As Remote Viewers, we learn to SEE non-locally, outside of time and space. How exactly it works, is still not definitive. That is the area of science that hasn’t been tapped yet. We have documented the phenomenon of Remote Viewing over and over again under double-blind conditions…but what exactly the mechanism is that is at work here is still uncertain. However, you do not need to believe in Remote Viewing for it work…but you have to be open enough to learn the process and let the protocols drive the session…and you will demonstrate that it actuall does work…on demand…over and over again.

It is impossible to make a case for Remote Viewing on a forum such as this. It is way too complex for such a cursory examination of it. It also goes far deeper than merely “reiterating” the verbal description of the principles and process of the protocols…This is an experiential science…until we can develop the methods to measure the workings of the mind and how the universe and the mind communicate, the machinations of remote viewing will remain a mystery unsolved…

Aloha,
Mana

19

Oops, sorry.

20

How about this one? Go to http://www.hrvg.org/cgi-bin/sessions_other.pl and see target “The person that shot and killed John Lennon at the moment of the shooting December 8th, 1980.”
BTW. I’m not a member of HRVG (took their online course, though).