As the student becomes more sensitive, more detailed targets are used. Examples would be the Eiffel Tower, Mount Etna, and lighthouses. At this level of competence, it is important to select targets that literally rise above the surrounding terrain, and are easy to distinguish from the surroundings. The remote viewing process is much like ordinary vision in this respect -- the most obvious thing is noticed first.

A Remote Viewing Session

On 1 May 1994 I sat at the table in Swann’s basement, roller ball pen in hand, small pile of blank paper within reach, and a single blank sheet in front of me. A paper cup with coffee was nearby, a reminder that the excursion I was about to make into the farthest reaches of another universe would take only my mind, not my body.

At the opposite end of the table, Swann sat smoking a cigar, patiently waiting for me to indicate my readiness to “take the coordinate.” As usual, I was nervous. \But I had no choice, did I? Moreover, this was to be a special session – Swann had brought modeling clay, and said that the exercise would include construction of a three-dimensional model of the target site.

How this could possibly be done, I could not imagine. But I found it nearly impossible to understand how I had successfully described 30 or 40 sites during the past weeks, using only the latitude and longitude of the sites as the initial trigger for the remote viewing that followed.

But it was time to remote view, and if nothing else, it meant time to absolutely stop thinking. If I had learned nothing else by now, it was that thinking is the deadly, merciless enemy of remote viewing. So I did my little trick, which I can’t really put into words, but the best description is that I shift my conscious mind sideways, leaving the remote viewing portion of my mind ready to begin.

And then I placed the tip of the pen on the paper. I was ready to begin. Speaking might disturb the delicate mind-set. And the viewer is in charge of the session. Thus Swann was waiting to see my pen drop to the paper. Then he intoned the coordinate, quietly but deliberately.

“Fourteen degrees, 20 minutes, North. One hundred degrees, 35 minutes East,” said Swann.

I wrote the numbers as he spoke. As the word “East” ended, my hand scrawled, left to right, forming the ideogram. This movement of the pen was entirely involuntary, uncontrolled by my conscious thought, and in fact the entire arm is involved in directing the pen, not just the wrist and fingers. During the next 30 minutes or so I let the process unfold, covering a dozen sheets of paper with the data.       Continued on page 6