Cosmic Spoon - ramblings of a modern day psychic

Monday, April 19, 2010

Remote viewing Mysteries and Mars

Mysteries and Mars

Here is the first project in a new series of public remote viewing projects. The target destination for this one turned out to be MARS - and some interesting (possible) structures in an official NASA/JPL image.

Nine methods/trained remote viewers from four differing remote viewing methods and schools participated in this first project.

3 x CRV viewers
4 x HRVG viewers
1 x TRV viewer
1 x SRV viewer

The target had three separate targets for the viewers to look at over 2-3 different sessions each. ... ect_1.html

The project details/background is here: ... oject.html

I would add from the start that most of the remote viewers picked up very similar data - most of this for three parts of the targets include 'life' and 'constructed structures' - (make of it as you will). But Alternative 3 may just live on after all. All this in the same month as Laura Magdalene Eisenhower, Ike’s great-granddaughter, outs secret Mars colony project. :)

ALL the targets on this were done BLIND meaning the remote viewers had NO information upfront or until the project was completed.

All the best...


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Tuesday, May 12, 2009

A 'Titanic' example of remote viewing in public.

Recently I was interviewed on the very interesting Paracast internet Radio show by Gene Steinbeg and David Biedny.

"April 26, 2009 — Daz Smith Paracast listener Daz Smith, who claims to be a trained remote viewer, discusses his background and ongoing experiences as a psychic. And, will he agree to our requests for a personal demonstration of his abilities? "

The show can be downloaded here:

Well after some discussion on air and off and a false start we did achieve a fairly level playing field allowing participation in a properly chosen and tasked target and blind remote viewing experiment for the shows forum users.

A target was chosen by the admins of the Paracast show and forum. They then assigned this a written random number and held this as a file to themselves.

The random number was the only information supplied to Myself and another participant in the attempt using the online name of 'Gulliver'.
The number supplied was 4672.

We both did our Remote viewing things and sent it to the project organiser David. On the 8th of may, 2009 he posted the feedback and started the discussion on the results on the Paracast forum here:

The feedback was:

The Titanic wreck.

The target description was: Describe the ship in the picture, and any details surrounding it.

Here is the summary of Gulliver's remote viewing information:
Clunk, whine, ssshhhh, rumble
Smooth, polished
Grey, purple, green, white
Synthetic feel, rubbery

Moving object, metallic, expensive, swish

Whirring sound
Lifting upwards, rising up
Winching, hinged joints, gears
Pointing upwards, aiming

Sense of a long tunnel or horizontal cylinder aimed in a particular
direction for a purpose
Pipes, tunnel

Slow movement, slow crawl
Heavy machinery
Wheel (steering)

Rows of long pipes on floor level
Reflection as if off water
A cockpit of sorts
Metal plates, welded
Heavy machinery being reeled in / pulled
Upside-down bell-shaped object

(odd flash of 2 figures dancing like a jive, hands clasped in front of

slow movement of large object
accompanied by a procession, marching, people
movement along a line,
sense of a tunnel again, long cylindrical length

(see the forum to also see Gulliver's great sketches on this target)

Here is the summary data from my remote viewing session:
The target mainly feels like:
Land, structure/s and a downwards feel or movement.

The land:
Direct, hard, solid rough and dry.

Feels manmade.
Strong imposing shape and form.
Tall, solid, hard, thick and dense.

The structure feels:
Very linear both on the horizontal and vertical levels. Lots of lines - blocky.
A part of the structure feels downwards based - drops downwards.
I’m not sure if this is motion or aesthetic and visual.

From the perspective of looking up at the target;
it looks linear and oblique/sloped.
Everything feels chunky, solid and dense.

This has a ‘monolithic’ and important feel to it, like a memorial, a great sense of pride and achievement, a strength and for show.

Parts of the structure feel:
Blocky, stepped down, solid, edged and chunky.
Strong angles and lines feel like a major part of this target.

A strong sense of downward comes with this target.
A part or focus of the structure is an up down movement, possibly with the eye. I feel the form of the structure and the downwards movement of it are combined in some way.

Personally we feel that this was a great double hit on the blind target all done out in the open in front of a sceptical audience. Read the forums for yourself to see the responses and reasons why some feel it was a miss and why :)

My remote viewing session on this in full can be downloaded here:



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Saturday, January 31, 2009

Tha Art of the Ideogram in Remote Viewing

The Art of the Ideogram.

The Ideogram is a cornerstone of the CRV (Controlled Remote Viewing) methodology created by Ingo Swann (Circa 1979-1988) as a consultant for SRI. The Ideogram has also been adopted by the following mutated forms of CRV but at times it’s been given less of a prominence in these later methodologies.

Firstly what is an Ideogram?
Simply put - An ideogram is a pictorial representation of an idea or concept.

For example:

This drawn symbol or shape is now commonly known to represent infinity. It cant possibly show everything that a concept like infinity means - but its shape and form represents the concept of infinity.

In CRV, the Ideogram represents an instantaneous reflex capture of the remote viewing target in picture form. A pictorial summary of the target.

The Ideogram takes the form of a reflex action with no drive form the conscious mind as it skips across the pages at a lightening pace. The Ideogram is then lightly probed to extract its ‘feeling’ its ‘form’ and its sensory impressions.

In essence in the many years of doing ideograms they have become known to me as an object of beauty, an art form, an expression of the entire target and every single bit of data, captured within a sweep on the pen.

Each and every single ideogram is different and although some have common features like straight or intersecting lines representing structures, most ideograms have that like bit extra, a subtlety that radiates the needed information. The key is to ta
ke the time to respect, explore and decode the ideogram properly. I’ve seen student want to skip this target of the remote viewing process in their willingness to sketch or delve into the depths of a target, yet it’s all here wrapped up in a beautiful, purely creative and personal expression of the target.

Over the years I have come to see ideograms as single works of art - a pure unaltered expression of the remote target, untouched by noise as it momentarily explodes form the creative mind on to the paper and dissipates in a nano-second
. I can look back on a remote viewing session containing multiple layered ideograms and with the hindsight of feedback - I see mapped in the swirling lines and unconsciously created ‘art’ a map of the target laid bare, waiting to be probed and discovered. Lying within the ideogram is a creative language stronger and more intense than any language of words.

A Recent example:

This is an ideogram recently created in a remote viewing project for a missing person.

At the point where the random target number ended you can see the creative explosion of information travel through me, into the pen and then on to the paper. You can trace the flow of the pen in the great arcing swirls and downwards as it records a life form, labelled [a.].

Then it skips across the page wanting to impart more information, which it does in a secondary explosion of sweeps and swirls reaching across the white void. This second Ideogram is labelled [b.] and when probed it indicates the confused, heavy, stifling, busy, mental condition of the target life form. This is a nano-second of creative expression, detailing a complex mental condition involving depression and sever confusion. On probing I can sense this, see it and feels it, a cloudy puffiness that takes over all.

The creative side of me sees this Ideogram as a thing of beauty a swirling form of energy as if reaching out across the pages with a story to tell.

It turns out the Missing person is a male with a severe mental condition who is prone to episodes of confusion, and who is still missing, presumed dead.

For the practitioners out there - remember to take your time and have fun with the Ideogram part of the process, it’s the creative side of you expressing the target in ‘your’ personal language. It also shows that behind all the acronyms and words that remote viewing IS an artistic process and that your Ideograms, sketches and even your pages of information are like little galleries filed with works of art., your art, learn to love and respect them.

For those methodologies or practitioners that have bypassed or relegated the Ideogram to a secondary position in your process - you need to re-evaluate this, go back and give it another try, look deep into the action and expression that explodes form both the target and from within in each of these little artworks.

All the best...


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Monday, December 01, 2008

CRV - Remote Viewing Training documents

My name is Daz Smith and for eleven plus years I have been a practitioner of CRV. This is a Remote viewing product designed and created by Ingo Swann and the SRI team during the years 1972-1984 for the U.S. Intel services and Military.

For years it’s been hard to learn CRV and I have seen it being mis-explained and misunderstood many times during this time in discussions and comments. For this reason I have collated some of the important and descriptive documents from both the CIA released archives and from the public domain in one place to help or educate those interested in this trainable psychic method.

Within this file there is:

  • SRI - Co-ordinate Remote viewing (CRV) Technology 1981-83 briefing.
    - from a paper authored by Hal Puthoff and the consultant Ingo Swann.
    I have included a ‘briefing version’ of this paper as it has more explanatory references to the CRV process and the R&D of stages 1-8.

  • Special Orientation Techniques - Stages 1-3
    Author - Hal Puthoff - 1984

    Overview of the first three stages of training with examples.

  • Special Orientation Techniques - Stages 4
    Author - Hal Puthoff - 1984

    Overview of the stage4 of training with examples.

  • Special Orientation Techniques - Stages 5-6
    Author - Hal Puthoff - 1984

    Overview of the stages 5-6 of training with examples.

  • Tom McNear CRV Training notes/manual -circa - 1985.
    One of Ingo’s first and possibly one of his best students training notes/manual in document form.

  • Paul Smith CRV Training notes/manual
    circa - (1996 onwards in the public domain) The modern most well know and used CRV manual.

  • Daz Smith Open Source CRV guide (2005)
    - my 'loose' guide with examples to use with the available material to help explain it better for those attempting to use CRV form the available material.

Click here to download the 10mb 260 page file:


Daz Smith

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Friday, November 21, 2008

160 Remote Viewing examples

160 (mainly CRV) Remote viewing Examples

I have just reorganised and updated the Star gate documents area of my main site and now have two pages of documents in .pdf format.
Page 1 has over 100 Military (mainly CRV) sessions for you to view
- all with feedback -

Page 2 - has a selection of interesting documents from the CIA archives.

I have also with permission and help from Angela T Smith added Angela's 2001 remote viewing study to the site - this includes all the 25 RV sessions from all the methods (CRV, TRV,ERV, HRVG) and schools (USMI L, PSI , RVI S, CRV) from all levels of trained people - విత్ their feedback and Angela's summary of the data.

Add to this my personal remote viewings and this makes approx 160 mixed method(but mainly CRV) sessions on public display with feedback.

All the best...

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