Chapter 6

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 pat-terns without ever drawing in these patterns.


This is another editing-out problem. Many beginning viewers also move their hands in front of their faces, as if feeling a target. Novices nearly always fail to record these movements on paper, and have to be encouraged to do so. For example, if the target is a mountain, many students have been observed moving their hands in front of their faces tracing out the outlines of the steeply sloped mountain, even to the point of outlining the rounded or pointed peak of the mountain.

After finishing, students should look back at the dimensional magnitudes recorded at the end of Phase 2. Sometimes a glance at these magnitudes will trigger the sense of additional areas that need to be included in the drawing. For example, sometimes a student will write "tall" or "towering" as a vertical dimensional magnitude. Checking the Phase 3 sketch, the student may then perceive where this tall or towering thing is, and include it in the drawing.

In general, Phase 3 sketches are drawn rather quickly. Later, in Phase 5 (or in advanced versions of Phase 4), it is possible to draw meticulous and extended sketches. But the Phase 3 sketch normally has a sense of rapid data transference of initial impressions, not exacting drawings of the finer details. To spend too much time with details at this early point in the session would invite the conscious mind to begin interpreting the diagrammatic data. As an approximate rule, no more than 5 minutes should be spent on a Phase 3 sketch. A good Phase 3 sketch often takes less than a minute.

In Type 4 data situations, when the monitor knows the identity of the target, the monitor should interpret at least the basic aspects of the Phase 3 sketch immediately (while the session is still in 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.

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Chapter 7



Some of the most useful and descriptive remote-viewing information is obtained in Phase 4. It is impossible, however, to enter Phase 4 without first completing Phases 1, 2, and 3. Phase 4 works only after strong contact has been made with the target.

In Phase 4, remote viewers work with a data matrix. Each column of the matrix represents a certain type of data, and viewers probe these columns to obtain data. Phase 4 always begins with a new sheet of paper. The paper is positioned lengthwise. The viewer puts the page number in the upper right-hand corner and then writes "P4" centered at the top of the page.

The nine column identifiers of the Phase 4 matrix are written across the page from left to right. The first three columns repre-sent data of the Phase 2 variety. The first represents data relating to the five senses of hearing, touch, sight, taste, and smell. This column is labeled with an S. The next column, labeled M, represents Phase 2 magnitudes. The third column is labeled VF, which represents 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 be-cause of something that is to happen there in the future, not in the past. Thus, places vibrate with the emotions of events that have happened or will happen. In the slang of the day, certain places have "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 be-come sensitive to subspace perceptions. This normally begins in the first week of training, but this exposure is continual, and improvements in perception follow a normal learning curve relating to how often 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 through-out the matrix. For example, emotions of subspace beings would be entered in the emotionals column, with an S being placed in the subspace column at the same horizontal level as these data.

The next column is for concepts, and it is labeled C. Concepts are intangible ideas that describe a target, but that do not relate to the five senses. All of the Phase 1 primitive and advanced descriptors are concepts, as are ideas such as good, bad, important, insignificant, inspiring, dangerous, safe, haven, work, play, fun, drudgery, adventurous, enlightening, attack, evolutionary, de-graded, supported, healing, altruistic, evil, sinister, saintly, and soon.

The final two columns in the Phase 4 matrix correspond to two different types of deductions. The first is called a "guided deduction." A guided deduction is identical to a deduction except that the viewer actually probes the matrix in order to obtain the deduction. Reasons for doing this are explained in the following section on probing. The guided deduction column is labeled GD. The final column of the Phase 4 matrix is the deductions column, and it is labeled D.

To summarize, the Phase 4 matrix is:

S      M      VF      E      P      SUB      C      GD      D

Probing the Matrix

To probe the Phase 4 matrix, the viewer touches the tip of the pen in the appropriate column. Probing is delicate and should be performed with care. The pen should stay in contact with the paper for about a second. During that time the viewer perceives some information, usually—but not always—related to the column heading. If the pen's contact with the paper is too brief, then a sufficiently deep impression of the target will not have been made on the conscious mind. If the contact with the paper is too long, then the viewer risks having the conscious mind interfere.

After removing the pen from the paper, the viewer mentally searches for a word or brief phrase that describes the perceived information. This process is referred to as "decoding" the target perceptions. The viewer must decide on this word or phrase quickly rarely more than three to five seconds after the probe. The viewer writes this description (usually one word) in the appropriate column.

Sometimes the viewer perceives a number of things when probing one column. When this happens, the viewer enters these data into the appropriate columns regardless of the column that was originally probed. For example, all emotional data go in the emotionals column, even if the emotional data are perceived when probing the physicals 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, per-haps concluding that something else at the target site is brown. Data can only be entered in a process that moves horizontally and down the page, never up. If the viewer at first only perceives a structure, then only the word "structure" would appear in the physicals column.


However, if the viewer again perceives the same structure later in the session, but this time the color of the structure is also perceived, then the viewer again writes the word "structure" in the physicals column, but this time together with "brown" in the senses column at the same horizontal level.


Entering Viewer Feelings and Deductions

Viewer feelings are entered into the Phase 4 matrix only when they are felt. Viewer feelings are not data about the target; they are the subjective feelings of the viewer about the target. If undeclared, they will fester and contaminate the data still to be collected. Declaring them in the matrix removes their influence from the data flow.

Viewer feelings are entered into the viewer feeling column by first writing "VF—" followed by the feeling. For example, "VF— I feel happy," or "VF—This makes me sick." After declaring a viewer feeling, the viewer must put his or her pen down momentarily, as done in Phase 2.

Viewer feelings can happen at any point in Phase 4. Typically, viewer feelings manifest after probing either the emotionals or physicals columns. After a viewer feeling occurs and is recorded, the viewer returns to the point of last probing to continue the 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 un-declared deduction begin to influence the real data. One does not write "GD-" in front of the guided deduction, but does put the pen down after declaring it.

Remember that the subspace mind is still in control of the session when a guided deduction is declared. This is not the case with a normal deduction. With a deduction, the conscious mind interrupts the flow of data and inserts a conclusion relating to the meaning of the target or an aspect of the target. The subspace mind has lost control of the session at that point. With a guided deduction, the subspace mind does not lose control because it is "guiding" the removal of the deduction. Probing the guided deductions column allows this removal to be accomplished.


High- and Low-Level Data

One of the most crucial aspects of Phase 4 is differentiating between high- and low-level data. High-level data involve attempts to label or to identify aspects of a target. In the subspace realm of existence, information is not conveyed through words, but rather through direct knowledge gleaned from visual, sensory, conceptual, emotional, and other impressions. Indeed, this is the essence of telepathy—direct awareness of an-other's thoughts. Words are needed in the physical realm in order to convey meaning through speech or writing. If our words convey entire concepts, then we are describing something at a high level of identification. On the other hand, if we describe only the characteristics of what we perceive, we are working at a low level.

The difference is best shown through examples. If a target is an ocean shoreline, a remote viewer would likely perceive aspects of the target such as sand, the feeling of sand, wind, water, wet-ness, salty tastes, waves, the smell of lotions, and grass. These are all low-level descriptors of the target. High-level descriptors could be beach, ocean, shoreline, lakefront, tidal wave, and so on. The problem with high-level descriptors is that they are often only partially correct, whereas low-level descriptors are normally quite accurate.

The general rule in Phase 4 is to enter all or most high-level descriptors in the deductions column, reserving the data columns for low-level data. In the above example regarding the shoreline, an analyst studying the data would have no trouble identifying the low-level aspects as waves and possibly sand dunes. On the other hand, using the high-level data suggested above, the viewer could have been tempted to follow a story line created by the conscious mind of large waves, perhaps leading to a fabricated disaster scenario.

Entering high-level data in the Phase 4 matrix is very risky Trainee viewers often want to obtain high-level data to demonstrate that they can identify the target. Yet novices should never try to obtain high-level data. You can describe nearly the entire universe using low-level data. In short, when we do remote viewing, we want to describe the target, not label or identify the target or its 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.



Most data that are entered in the Phase 4 matrix are single words placed in the appropriate columns. However, sometimes the remote viewer needs to say more than can fit in a column. This typically results after the viewer has recorded a number of low-level data items that he or she later feels to be connected in some way. A longer data entry that acts to organize or collect a number of separate gestalts is written as a P4½.


This begins on the left side of the Phase 4 matrix. The viewer writes "P4½" followed by a sentence or phrase, writing from left to right across the page. A P4½ entry is rarely more than one sentence, as this is to be avoided. It is better to write two or more P4½ entries sequentially than to attempt to write an extended discussion of the data. Entries that are too long risk shifting from recording perceptions to conscious-mind analysis.

Advanced remote viewers find P4½ entries most useful, especially after they have established thorough target contact. However, novices must watch out since they tend to use P4½ entries indiscriminately. Evidence of this is typically the appearance of a P4½ entry that is not immediately preceded by a number of related single-word entries in the appropriate columns. Thus, the P4½ entries should ideally relate to and organize already perceived data, and they should definitely not appear to come "out of the blue."



A P4½ S is the same as a P4½, but it is a sketch rather than a verbal description. When the viewer perceives some visual data in Phase 4 that can be sketched, the viewer writes "P4½ S" in 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 P4½ S centered at the top, and gives it a page number that is the same as the matrix page containing the column entry "P4½ S" with an A appended to it. Thus, if the entry for the P4½ S is located on page 9, then the P4½ S sketch is located on page 9A.



1. Probing the Matrix "Raw"
Probing the Phase 4 matrix has three distinct stages. When first entering Phase 4, the viewer simply probes the matrix as de-scribed earlier. This is referenced as probing the matrix "raw." Novices are instructed to obtain at least two pages of Phase 4 data, in order to prevent the viewers from giving up too easily.


Beginning viewers are usually quite skeptical about their own data at first. Since this skepticism is rooted in the conscious mind, it is not a serious concern during training. Indeed, having the conscious mind preoccupied with skeptical thoughts can be a real advantage for a novice, since it clears the way for the subspace mind to slip the data past the reviewing processes of the conscious mind.

Working the Target
Advanced remote viewers treat their entry into Phase 4 as a means of obtaining crucially important information about a tar-get. This requires them to continue longer in Phase 4 while they "work the target," the process of following a subspace signal intuitively through all of its leads. Viewers obtain a rich collection of data by "looking around," so to speak. If they find a structure, their intuitive sense tells whether it is important to know more about the structure.


They describe it more thoroughly moving inside the structure when needed to complete the description. The viewers describe the surface on which the structure is located. They may also describe the physical activities of the people outside and inside the structure, even locating a significant person who may be crucial to resolving the target cue. All of this is felt through strong intuitive tugs that direct the viewer's awareness in the appropriate directions.

Working the target also includes tying together low-level data in P4½ entries. When a viewer works a target, the viewer typically perceives some physical item and describes this item in low-level terms. This observation leads to another related observation, which in turn leads to another, and so on. After a sufficient number of low-level observations have been made, the viewer begins to "connect the dots," so to speak. A statement that pulls it all together, made as a P4 Vi entry, is itself a low-level description of the target or a fragment of the target. The statement does not label the target 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 P4½. "Windy circular energy in a powerful vortex containing lots of small flying pieces." The viewer could also declare a deduction of a tornado. The word "tornado" is high-level, since it clearly labels the phenomenon. The description in the P4 Vi entry remains low-level, even though it ties together other low-level data entries. The viewer then continues on to the next group of objects in a similar fashion. This is the classic method of working the target.

2. Returning to the Emotionals
After a while the flow of data will slow, and further working of the target becomes repetitive and unproductive. The viewer must then execute the second of the "Big Three" matrix processes. Even though the viewer has been regularly probing the emotionals with each horizontal pass through the Phase 4 matrix, a special trip back to the emotionals column often restarts the data flow.


The reason is that the viewer's attention has been on various aspects of the target, and the emotionals data perceived earlier may have been related to those aspects, such as the sense of anger that resulted from an argument that took place within a structure. Returning specifically to the emotionals column for a special probing allows the subspace mind to shift its attention to other emotional data that could be more generally related to the target.

For example, let us say the remote-viewing target is the hostage crisis in Peru that began in December 1996. In this case, a group of Marxist guerillas attacked Japanese embassy facilities in Peru and held a large number of hostages until a Peruvian commando raid rescued nearly all of them in late April 1997. In the initial approach to the target, a viewer may perceive fear among the hostages as well as aggression among the guerillas.


The viewer may describe two group s of people in a structure, with one group controlling another. After the data flow slows, the viewer returns to the emotionals column and probes it again. This time the viewer might perceive emotions of concern and concentration. This leads to perceiving the concepts of making a plan, waiting, rescue, high-level political involvement, and a commando operation.


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 al-lows the viewer to reinitiate the flow of data once again, and the viewer returns to the Phase 4 matrix to enter the data in the appropriate columns.

When probing the Phase 3 sketch, the viewer is not trying to label or identify specific features of it, although these can be de-scribed in low-level terms. More generally, the viewer is simply using the sketch to obtain other low-level data by shifting his or her attention from one location to another. Viewers can probe lines in the Phase 3 sketch, resolving some of their meaning using the primitive and advanced descriptors of Phase 1. This is a good way of determining if there are structures or beings at the target site if this has not already been determined.

The viewers can also look for the following interfaces in a Phase 3 sketch: land/air, land/water, air/vacuum, land/ vacuum, air/water. This is very helpful in determining various geographical features of the target site. For example, let us say that the viewer has determined that a structure at the target site is located on top of a flat surface.


If the viewer probes below the structure and finds water, and then probes above the structure and finds air, the viewer then knows that the structure is floating on water and is probably a boat (which is a useful deduction). If the viewer determines that there is a structure in the Phase 3 sketch, and that the structure has air inside and vacuum above and below the structure, then the structure is most likely in space ("spacecraft" would be a deduction).


If the structure is on a flat surface, and the surface is hard and natural (and thus land), and above the structure is air, then the viewer knows that the target involves a structure on flat land. If the viewer probes on both sides of a line in the Phase 3 sketch, finding water on one side and dry land on the other, the viewer knows that the target involves a land/water interface, and may deduct a beach.


The basic mechanics of cuing involve the viewer writing a word in an appropriate column (in either parentheses or brackets) and then touching the word with the pen. The word written in the column is the "cue." Using the pen to touch the word focuses the attention of the subspace mind on target aspects relevant to the cue. The resulting stream of data are then entered into the matrix in the appropriate columns below the cue.

Words that originate from the viewer's own data are entered in the appropriate column in parentheses (). Cues originating from a monitor, or not from a viewer's own data, are entered in square brackets [ ]. If the monitor's word(s) are used to construct a cue, then the cue should be non-leading and closely tied to the viewer's existing data. For example, if a viewer perceives a building, the monitor may suggest that the viewer cue on "activity" by writing the word in square brackets in the concepts column, then probing the word and entering the resulting data in the appropriate columns of 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) of the target, something should be perceivable." This cue should be used only if it is unclear where the viewer is relative to the surrounding (viewed) environment. This cue should only rarely be the first level-one movement exercise since it essentially moves the viewer away from the center of the target, which is usually the most important part of the target.
3. "Immediately to the left (or right, in front of, behind) the target, something should be perceivable."
4. "From the center of the target area (or site), the target person (or object) should be perceivable."
5. "From inside the structure, something should be perceivable."

Level Two
Level-two movement exercises are used to move the viewer from one location or target-related item to another without the viewer having to leave Phase 4. This exercise is not such a total break as a level-one movement exercise, but neither is its shift in focus as subtle as a level-three exercise. The cue is essentially the same regardless of the situation, with only locational words being changed. Here is the cue:

"Move to the [new target location or item] and describe."

In this cue the "new target location or item" should originate from the viewer 's own data. The monitor normally does not insert his or her own words here, except to focus the viewer 's attention on some particular generic component of the target. For example, the "new target location or item" can include phrases such as "target subject," "target subjects," "target object," and soon.

The level-two cue is written across the body of the Phase 4 matrix, from left to right. The viewer then continues to enter data in the same matrix in the normal fashion after writing the movement exercise cue. There is no ideogram in this exercise. How-ever, I personally find it useful from time to time to probe the last letter of the word "describe" in the level-two cue in order to re-focus my 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 sub-space mind of any person being remote viewed will be aware of this activity even if the person's conscious mind is not. This is yet another reason why I recommend that all remote viewers meditate regularly in order to remove as much of their own stresses as possible before entering the mind of someone else. It is mandatory to do no harm while 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.

There are three other chapters included as Appendices 1, 2, and 3 containing technical material for advanced SRV procedures. The first chapter deals with specialized procedures that are used in Phase 5 of Basic SRV. The second chapter explains Enhanced SRV, which is a highly interactive and flexible form of the protocols, while the third chapter describes procedures used to analyze societies.

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Chapter 8

Climbing Mt. Everest is one of the most dangerous adventures known to man. Many have died in the climb, and it is not un-usual for even veteran climbers to encounter a life-threatening situation, such as a sudden storm, or just bad luck. When death approaches a climber on those steep slopes, there are nearly al-ways moments for reflection, time to ponder the wisdom of one's actions.


Within the consciousness of those moments resides a telling truth, a blunt realism. To witness this realism, this deep awareness of what one has done without the illusion of grandeur to cloud the vision, is to witness a moment of consciousness in a state of great purity. When some die, they may feel alone, with no one to share their last moments of wakefulness.


Yet situations do occur in which those who die unknowingly share these moments with a witness of the soul.

15 May 1997
3:50 p.m.
Atlanta, Georgia
Protocols: Basic SRV
Target coordinates: 6861/2306


My first ideogram feels hard and man-made. Yet there is something unusual about it, and I declare that the ideogram rep-resents land. My second ideogram is again hard and man-made, but it is a shape that is typical for a structure. The third ideogram is similar to the second, but it feels hard and natural. I deduct the idea of a mountain.

I perceive airy sounds, like that of wind. The textures at the target site are rough and rocky. The temperatures are cold, and I deduct Mt. Everest. There are colors of blue, white, brown, and tan. The level of luminescence is bright with high contrasts. I taste something salty, like sweat, and again deduct Mt. Everest. The air has the smell of ozone. The air is thin and smells fresh. The magnitude of the dimensions are tall and towering verticals, wide and expansive horizontals, long sloping diagonals, and heavy mass. There is a moderate level of energetics at the target site. My Phase 3 sketch resembles a mountain covered with something like snow at the top. I deduct a volcano on my sketch.

In Phase 4 I perceive bright white and blue colors, and I deduct snow. The contrasts are very high. Again, the textures seem rough and rocky. The magnitudes are clearly tall and towering, and the air seems thin. I am detecting the mental flavor of consciousness at the target site. There are subjects, and I deduct "climbing a mountain." There are rocks, a path, and I sense the concept of passage. Within the subspace arena, I detect interest. This target is associated with the concept of achievement. "Climbing Mt. Everest" emerges as a guided deduction.

Bright white light is everywhere, as is the sense of something tall and towering. The concept of achievement is mixed with the emotions of thrill and tension. The subjects are wearing rough clothing, like jeans. The clothes feel like they are sturdy and rough, the type needed for rugged outdoor activity or work.


Now I perceive that the subjects are male. There is a group involved with an expedition. There is a male leader in the group. I deduct the ideas of hiking, backpacking, and a mountain. I again perceive clothing, rocks, a narrow path, and trees. I do not perceive a structure in my current position at the target.

This target is associated with a variety of overlapping concepts. Here there is achievement mixed with the ideas of striving and overcoming hardship and difficulty I have a guided deduction of mountain climbing.

Focusing on the target subjects, I perceive that they are trying to concentrate, to keep their minds focused. They are having difficulty thinking, the way someone would if there was not enough oxygen to breathe. Their minds wander, and they forget. Conquering the problems with their minds is a challenge to them. They are working to achieve a goal. I feel subspace emotional energy that is supportive of these activities, but not in the essential "this must happen" sense. The bright light of the sun, the tall towering magnitudes, the difficulty in concentrating, the determination of the subjects, all these are mixed together.

I execute a collective deep mind probe on the target subjects. These people need to do something for their own sake. This is very important to them. It is not a life-and-death issue, but it feels like that in their own minds. They seem to have made it a "do-or-die" situation.

While the emotions of the target group contain both tension and fear, there is also suppressed exhilaration. The group is worried about shelter and supplies for some project. I deduct pick-axes, small shovels, and a tent. I also deduct that the group is on a journey

Returning to my Phase 3 sketch, I find the air thin and cold. Indeed, it is freezing here. There is human occupation far below, and I deduct farms and villages. I also perceive that something is hot at the target site. Cold is everywhere at the top of the mountain, but hot is localized somewhere else. I conclude that the target appears to contain a tall mountain that is both hot and cold at the top. Yet it is much more cold than it is hot. I again note that the air is thin.

Moving to the precise center and time of the target, I sense that the subjects are going up, or climbing over. They feel exhilarated, but there is also grave danger in the activity of climbing this mountain. I get the overwhelming sense that their single-minded focus is "going up, going up, going up and over."



After I finished this session, I was told the target cue, "Mid-May expedition up Mt. Everest in which two guides and five hikers were killed (circa May 1997)." This is an unusually clear remote-viewing session. Even the most advanced viewers often have significant areas of ambiguity mixed with some decoding errors in their work. I was quite surprised with the accuracy of the physical target descriptions in this instance.


Research on the target also indicated that much of my description of the emotional dynamics among the group members was particularly insightful. Following the completion of this session, I briefly entertained the notion that my capabilities might have catapulted upward permanently, and that all of my future sessions would have this level of profound target contact. Alas, I am just as human as everyone else, and this level of clarity is still more the exception than the rule.

But readers should examine this session carefully All that I was given before beginning this session were the target coordinates, chosen by my tasker from a table of random numbers. I had no monitor to lead me. Ñor had I ever heard or read about this expedition before doing this session.

There is no way to associate a probability of psi functioning with a session that contains such a high level of profound target contact. Skeptics of remote viewing may insist on constructing some imaginary rationale to explain this session without ad-dressing the real causal link involving consciousness. My soul witnessed this event, and it was through my conscious recognition of my soul's perceptions that I was able to write down these descriptions.

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Chapter 9

The following session is an excellent illustration of how the conscious mind and the soul interact. While remote viewing a verifiable space operation, my conscious mind tried to interpret the data in a fashion that allowed a close parallel to the actual raw data.


Nothing is more important in understanding remote-viewing data than the fact that each individual has two separate minds that can function independently to a surprising extent. In this session, it is clear what information my subspace mind was trying to convey, and (by reading the deductions) it is equally clear how this information was interpreted (falsely) by my conscious mind. Such decoding difficulties can occur with any viewer, regardless of expertise, and a trained analyst is normally alert to strip conscious mind interpretations from the data.

Readers should examine this chapter closely to learn why it is so difficult to rely on what the viewer thinks he or she has perceived. Unless one is quite skilled in these matters, correct intuitions can be easily sidetracked by incorrect interpretations.

30 May 1997

10:56a.m. Atlanta, Georgia

Protocols: Basic SRV, Type 3

Target coordinates: 8810/4131


Employing Basic SRV, I observe in Phase 1 that the target involves both a structure and movement. I hear rushing or roaring sounds, like those of a jet. The textures are soft and fabric-like. The temperatures range from hot to cold. There are many primary colors, including blue and red. I deduct a balloon. The luminescence is incandescent and bright, while the contrasts are moderate. I perceive the taste of food, and I smell food as well.


The magnitude of the dimensions include tall and high verticals, medium-width horizontals, curving diagonals with a round topology, and hot, fiery energy My Phase 3 sketch is of a circular structure connected to a more rectangular structure. Due to the shape of this sketch, I deduct a hot air balloon.

In Phase 4, I perceive hot, fiery energetics. Something is round, and it is flying very high. I perceive cloth textures. What-ever is flying high feels empty or hollow in some way.


Energetics are associated with this target. There are subjects who are very excited at the current time. I sense only a few subjects, most or all male. The primary target structure is empty or hollow. It feels hotter inside and cooler outside. The structure appears to be round or curved in shape.

Using my hands to follow the shape of the structure, I note that it seems to "give" inward when pressed from the outside, re-enforcing the idea that fabric of some sort is on the exterior of the structure. This structure also feels like it is the primary target aspect. There is the concept of thrill associated with this target. I again perceive woven textures, like cloth, on the exterior of the target. The subjects are very excited, and I am deducting the concepts of patriotism and the flag. I also deduct a hot air ride over Africa or Missouri.


The structure appears to be near some surface, perhaps land. It may also be that some surface or horizon is visible from the perspective of the structure's location. The structure itself feels light in some way.
I observe that the subjects are wearing distinct clothing that seems to be intended for special warmth. They are flying, and it is a thrilling adventure for them. There appear to be approximately four subjects, and I am beginning to feel a female energy from one of the subjects. The other subjects clearly seem male.

I move my perspective into the structure. It has a complicated or sophisticated design. There seem to be strings or thin connectors inside. Otherwise, the structure appears light and empty or hollow. The structure is traveling, and the movement appears slow from my perspective.

Shifting my perspective to the target subjects, I execute a collective deep mind probe. The subjects have a mixture of emotions, including tension, combined with others of varying degree, depending on the individual. I again sense three males and one female. They appear to be standing together, looking outward. They are participating in some kind of activity that involves manipulating things. I again sense that a hot flame is near the target.

I re-orient myself to the center of the target with a movement exercise. I perceive that the structure is round, in the sense that it has a curved topology. I again note the excitement of the target subjects, and I feel their sense of adventure. I draw a sketch of the target structure. The sketch resembles a flying hot air balloon. The horizon is visible below the structure. The target subjects appear to be near one side, or perhaps the bottom of the structure. The hollow structure seems to be above them.

The structure itself has thin walls. There seem to be higher temperatures inside the structure than outside the structure. But the outside does not feel frigidly cold. The subjects are in an area near the lower part of the structure. This area is compact, dense, and congested. There are many technological devices in this area. Below the structure I perceive empty space, and when I probe the apparent horizon, I perceive solid land.



The target cue for this session is,

"The shuttle Discovery mission to repair the Hubble Space Telescope (mid-February 1997)."

If one ignores the deductions (which is the appropriate thing to do since deductions are analytical conclusions, not raw data), this session is quite accurate. I perceived a flying structure, a small group of people working on that structure using technological devices, and the horizon of the land below the structure.

When I first analyzed the session, I was struck by how strongly my mind wanted to interpret the data for the structure as representing a balloon. In particular, I was concerned about the perceptions of cloth or textiles surrounding the structure, which was the aspect that was leaning me in the balloon direction. I could not see how this could possibly be true, since the Hubble Space Telescope is certainly constructed of metal.


I then conducted some research for the target event using the CNN website. As it turns out, I learned that the telescope is covered with reflective insulating fabric that is used to protect the exterior from solar radiation. According to the reports, the shuttle crew were concerned about the extensive damage that they observed to this protecting covering (due to unexpectedly high wear and tear). Since there is a layer of insulation between the fabric and the telescope, the exterior "gives" when pressed.

I could obtain little information about the crew of the Discovery. The CNN reports made no mention of a woman, or the number of total crew members. Thus, these data may have contained some inconsistencies. Nonetheless, I did accurately perceive that the target subjects were few in number.

By this time readers should be able to clearly identify the tension that exists between the conscious mind and the subspace mind with regard to the exchange of information. The subspace mind perceives raw information that is not processed logically or verbally. The conscious mind must use words to describe the intuitive content of this information, including sketches of the low-resolution images. The conscious mind and the subspace mind do not approach awareness from the same point of view. There is a translation problem that is compounded by the fact that the essential natures of the two minds are different.

All this implies that remote viewing is a skill that takes considerable practice. A person does not learn the procedures and instantly perceive accurately across time and space. Rather, accuracy increases with practice. Just as all artists must practice regularly in order to perfect their skills, remote viewers need to view often in order to maintain and improve their skills.

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Chapter 10

I used to live near the Centers for Disease Control (CDC) in Atlanta, Georgia. Every day I drove past the oddly assembled buildings that make up that complex. Historically, buildings were added as needed and as funding allowed. The architects al-ways changed, and no common theme developed to guide the evolving physical appearance of the site.


What exists now is a hodgepodge of structures with differing shapes, sizes, and de-signs. Some roofs are flat, while others are slanted. Smoke stacks emerge from one building while a dish antenna tops another. A large sloping parking lot is located behind the complex. From a design perspective, this facility is a mess. From a remote-viewing perspective, its complexity makes it a challenging target.

Is this then a chapter about remote viewing a collection of buildings? No. Readers should remember that the most complete collection of deadly viruses and bacteria known to man are housed in this facility. Now, put yourself in the position of a strategist trying to locate the biological warfare weapons of a terrorist organization. Remote viewers could be assigned a target cue that would direct them to some suspect facility.

Depending on the artistic capabilities of the viewer, the data and sketches may be of a type reminiscent of those contained in this session. The information would hopefully not only describe aspects of the structures at the site, but the behavior and appearance of the personnel working in the facility as well.

The analysts would then compare the data with known facilities in the area under investigation. If a match is suspected, other forms of intelligence would be used to obtain corroborating or confirming evidence. This is the way remote-viewing data can be used to initiate leads that are later followed up. The same would be applicable not only to search operations relating to biological warfare agents, but also to other situations in which physical descriptions of buildings and their associated personnel are required.


In this day and age when weapons of mass destruction can be obtained by terrorist forces, sessions resembling that presented here may be common in our future.

12:37 p.m.
Atlanta, Georgia
Protocols: Enhanced SRV, Type 3
Target coordinates: 2680/1114


My first ideogram feels soft and artificial. It represents some-thing that contains the colors red, blue, and white. I perceive a woven texture, and I hear a snapping sound. My sketch is of two flags, one of which is flapping in the wind.

The second ideogram feels semi-hard. I again hear sounds of wind, and the smells are of outdoors. Something is heavy, tall, and towering at the target. My sketch is of a tall rectangular structure. The third ideogram feels hard and man-made. It also feels heavy and dense. The colors are tan and light brown. The sketch is of a circle.

The fourth ideogram feels hard and man-made, and I perceive that it represents a structure. The colors are light brown and gray. The textures are a mixture of rough and polished. The magnitudes of the dimensions are thin and short, narrow and compact. The sketch is of a short rectangular structure.

My final ideogram also feels hard and man-made, representing a structure. I again perceive the combination of rough and polished textures, as well as the colors of gray and green. The sketch of the structure suggests that it has a steeply slanted, curved roof.

My Phase 3 sketch suggests that the target involves a rectangular structure in the background with a flag on a flagpole in the foreground. I begin Phase 4 observing that the target is irregularly shaped. It is gray, bright, and polished. There are subjects in the irregularly shaped target structure. The structure is complicated to draw with detail. Currently, it appears to be hit by bright light. I observe the highly reflective surfaces of the target structure. There is technology associated with this target. It is both big and tall, and its topology is both curving and straight.

There are multiple subjects at the target. They are wearing clothes that seem like smocks or lab coats. Their long white clothing hangs down over their bodies. There are both males and females at work, and I sense a mission in their activity.
I sketch one aspect of the target structure. It has a single, curved, steeply tilted roof. Its walls are reflective, at least partially. Some of the target subjects within the structure wear uniforms.


I execute a collective deep mind probe of the target subjects and perceive the emotionality of worry, focus, and concentration. I sketch one of the target subjects. This subject is a male, and he is wearing a long white lab coat. The other target subjects are focused on work activity. I note that the floor on which they walk is polished and shiny. I draw another sketch of two subjects wearing lab coats within the target structure.

To refocus myself at the center of the target, I execute a movement exercise. After returning to Phase 4, I observe technology that is compact. The target subjects are still focusing their concentration in a work environment. Their white clothes still fully cover their bodies loosely I observe their shoes, their hair, and their faces.

I now note that something is circular at the target, and I sketch a round structure with lines that radiate outward from the center. It looks like spokes on a wheel. There is technology here. One facet of this technology is associated with the transmission of radio signals. Looking around the target site, I observe that the target structure is on dry land. I draw another aspect of the target structure, which is short and rectangular. Overall, my impression of the target structure is that its topology is complex and irregularly shaped.


The target cue for this session is "CDC (current time)." As mentioned earlier, the architecture of the CDC is highly complex. It is not one structure, but many differently shaped structures grouped together. There are flags on flagpoles in front of the main entrance to the complex, exactly as described in this session.

Note that I perceived the activities and appearance of the personnel who work at the CDC. Long white lab coats are virtually a uniform among the researchers and technicians. Also, they in-deed have a mission. CDC exists to serve humanity by assisting in the control of infectious diseases. There are also uniformed guards throughout this facility. (Remember that every deadly infectious agent known to man is stored in these buildings.)

If I were a human living on a far-off planet, it would be possible for me to remote view this facility by targeting the central location where efforts to control worldwide diseases are coordinated. This session, combined with related sessions from other viewers, would enable the analysts on that distant world to develop a description of the facility as well as the personnel that work there. In the absence of transportation capabilities, this description would be labeled unverifiable.


But because we can walk up to this target and touch it, the current session seems more real. Were we to know of the remote-viewing efforts of this distant civilization, we might ridicule their hesitancy to accept as real the information that they obtained using methods that work quite well with other targets that are verifiable to them.

This, of course, is the current situation in which we find our-selves as a species. We note with interest the accuracy of a session in which a verifiable target is clearly described. But we balk when we are asked to seriously consider the results of esoteric targets, regardless of how many times the experiments are repeated, and regardless of the controls used.

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Chapter 11

Ever wonder what really happens at a reunion? This chapter presents remote-viewing data of a recent reunion of the Ku Klux Klan in Georgia. From these data it is clear that Klan members share a strongly held perspective that they hold in memories, folklore, and stories. But their reunion also invokes a heritage that connects them with a living history. I theorize that when groups form on the basis of strongly felt ideas that are connected to earlier events and conditions, the consciousness of the people who shared those ideas in the past reverberate in the present.

Time is no barrier to remote viewing. Similarly, even though the individuals concerned may not be consciously aware of this, time is totally transparent to the souls of those beings who share a common viewpoint. This relationship exists regardless of whether or not two groups of such beings are separated by decades, centuries, or longer.

27 May 1997

2:05 p.m. Atlanta, Georgia

Protocols: Basic SRV, Type 3
Target coordinates: 1443/0210

My first ideogram indicates that the target involves a mountain. Other ideograms appear to address the land or environment around the mountain. In Phase 2, I hear something airy, and I perceive the crackling sounds of fire. The textures at the site are sharp, smooth, polished, and possibly painted. Temperatures are both cold and hot. There are blue and white colors with moderate luminescence. I taste blood and salt.


The air smells cold and fresh. The magnitudes of the target dimensions include something tall, towering, and steep. The horizontals are narrow while the diagonals are long and sloping. Something is both heavy and open at the target site, and I perceive energetics of some type. My Phase 3 sketch is of a mountain with a curved base.

In Phase 4 I immediately deduct both a mountain and Mt. Everest. The target feels very open in some way. I smell something burning. One aspect of the target feels heavy, long, and sloping, and I deduct a pyramid. I also begin to perceive the emotions and thoughts of subjects at the target site. There is a stone structure that feels man-made. This stone structure is large, and I again deduct a pyramid. The textures are sandy while the colors are tan and brown.

There is another structure on land at the target. This structure is made of wood. I can perceive the walls as well as the interior and exterior of the structure. The structure has doors and other openings, and it is made of natural materials. Something about this target feels old, even ancient.

There are thoughts and emotions associated with the target site. But I am not perceiving the subjects who had these thoughts as currently present. There are other subjects present at the target site, and they are fewer in number. They are near or in the wooden structure. There is furniture in the structure, and a hall-way with rooms off to the side. I deduct the rounded mountain, Santa Fe Baldy. Focusing again on the emotions at the target site, I perceive a few subjects physically, but the emotions of many.

I execute a collective deep mind probe of the target subjects and find their minds to contain the concepts of being under-ground or hidden. I deduct the idea of hiding. Drawing another sketch of the target, I place the structure with the subjects in the foreground, and the mountain in the background. There are lots of emotions associated with this target. They are not bad emotions, just many of them.

This target is connecting to disparate things, places, times, events. There is history here. Something old has passed away. The mountain is of some significance to the target subjects. It is an object of study examination, and interest. It represents something to these subjects, something ancient, something historical.


Whatever it represents generates many thoughts and emotions in their minds. Oddly I still perceive only a few physical subjects, but the emotions of many crowd the collective conscious-ness associated with this target.



The target cue for this session is "1996 annual Ku Klux Klan meeting / Stone Mountain, Georgia / event (20 July 1996)." This reunion of Ku Klux Klan members took place near the base of Stone Mountain. This is a large, rounded granite rock that protrudes from flat land. On one of its faces is carved a huge sculpture of Confederate heroes in the Civil War. This explains why I perceived the mountain to be man-made, and why so many deductions appeared comparing it to a pyramid. This also explains the deduction of Santa Fe Baldy another round-top mountain.

The most interesting aspect of this session is the sense of connectedness to the past that I perceived from the target subjects.

These beings felt a nostalgic longing for days gone by. But most interesting, my subspace mind clearly perceived the emotions of many others who were not there physically This was not just a reunion of physical beings; this was a reunion of the spirit.

There seem to be two possibilities to explain this phenomenon of spiritual connectedness across time in this instance. First, perhaps the racist philosophy of the target subjects, as well as their emotional attachment to history, induced many of the souls of those who are no longer physical to identify with the modern-day Klansmen. The Klan of the past was with the Klan of the present at the reunion, literally, in spirit. Alternatively, perhaps the minds of the target subjects used the vehicle of nostalgia to transcend time, to make a direct connection to the days of burning crosses and lynching.


Remember, the subspace minds of these people are as transparent to time as my own. Possibly I perceived the emotions of many because I followed the awareness of the target subjects backward through time. I do not know which of these two theories is more probable.


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