The Farsight Protocols of Scientific Remote Viewing that are described in the previous chapters are those that are taught at The Farsight Institute in the Farsight Voyager and the Farsight Seer courses. In the advanced courses in remote viewing taught at the Institute, these procedures are modified very significantly in order to exploit the greater capabilities that are possible with professionally trained and competent viewers. These modifications are referenced here as "Enhanced SRV" since they are built upon the previously described basic procedures.

These enhanced procedures are normally not taught to beginning viewers because of a number of reasons. First, it is not easy to teach and practice these enhanced procedures in a one-week introductory course in remote viewing given the quantity of other materials that need to be taught as prerequisites to learning the enhanced procedures. Second, the current view is that these enhanced procedures are too complicated for novice viewers to master quickly. The primary problem here is that novice viewers need to be accustomed with all of the basic procedures, such as probing the Phase 4 matrix, the "Big Three," working the matrix, all of the Phase 2 vocabulary, probing ideograms, and the essentials of Phase 3 sketching in order for the enhanced procedures to work. Because of this latter reason, I strongly recommend that all beginning viewers consider this chapter only as a reference source rather than as a training program. An excellent use of this chapter is as an aid to understanding the remote viewing data collected by professional remote viewers and presented on the website of The Farsight Institute, as well as elsewhere.

Enhanced SRV resolves two problems inherent with the basic SRV procedures. First, basic SRV collects and decodes a number of ideograms that precisely address various aspects of the target site. These ideograms are among the most important pieces of data in a remote viewing session because the conscious mind has almost no chance to interfere with the collection of these data. The ideograms reflect direct perceptions of the target from one's subspace mind. With the basic SRV procedures, these ideograms are used primarily to obtain initial target contact. The goal of the session is to proceed as quickly as possible to the later phases where more valuable data (from an "ultimate use" or operational perspective) are collected. This means that despite the inherent value of the ideograms, with basic SRV they are essentially thrown away as the viewer proceeds further into the session once initial target contact has been established.

The second major problem with the basic SRV procedures arises because viewers enter Phases 2 and 3 with all of the impressions left in their minds by the entire collection of target gestalts, as reflected in the various ideograms of Phase 1. The data in Phase 2 thus are a jumble of perceptions coming from all of these gestalts. There have been no studies to date that identify a definitive pattern establishing a ranking of Phase 2 data with respect to a collection of gestalts. For example, if there are four important target aspects that have been identified by four separate ideograms in Phase 1, from which aspect will viewers report, say, temperatures, and in what order? If the target is a campsite in Alaska in the mid of winter, the viewer may report both the heat of the campfire as well as the cold of the surrounding snow. This mixture of gestalts continues into Phase 3, and viewers typically spend a great deal of time in Phase 4 sorting things out.

The primary goal of the Enhanced SRV procedures is to resolve both of the problems with basic SRV that are identified above. However, the enhancements also improve the quantity and quality of data that are collected throughout the session. They shorten the time needed to descriptively separate the various gestalts in Phase 4. The enhancements also produce operationally useful Phase 2 data and Phase 3 sketches relevant to each individual ideogram.

Enhanced Phases 1, 2, and 3

Using Enhanced SRV, viewers begin their sessions by taking the target coordinates and drawing the ideogram in the normal fashion. They then write "A:" and describe the movement of the pen with words. The ideogram is then probed for primitive and advanced descriptors. All of this is identical to basic SRV. Following this, the viewer writes "B:" and declares a low-level guess describing the most basic character of the gestalt that is reflected in the ideogram (such as "structure", "subject," "land," "water," "No-B," and so on). In Enhanced SRV, there is no intuitive description of the ideogram's gestalt that accompanies this low-level guess as is done with basic SRV.

The viewers then write "P2:" underneath the B. The ideogram is then probed repeatedly for Phase 2 descriptors. Viewers should let whatever is perceived arrive freely. This method of probing is called as "free response." In basic SRV, Phase 2 data are always collected following a fixed structure ( sounds, textures, temperatures, visuals, and so on). This fixed structure approach is not used at this point, however, it is acceptable for viewers to remind themselves of a few of the categories of Phase 2 data should they need some assistance in getting the data to begin flowing. Probing the ideogram five or six times is often typical at this point, but viewers can probe the ideogram however many times as may seem appropriate should the data continue to flow. The data are entered vertically down the page.

As viewers collect more Phase 2 data, they will notice that a dim and vague mental image of the target aspect that is reflected in the ideogram begins to form. For example, if the ideogram reflects a structure, then the viewers will begin to develop an intuitive mental picture of the structure. Either directly underneath or to the left side of the Phase 2 data, the viewers then write "P3." A sketch is then made of this aspect of the target (such as a structure) underneath "P3."

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

Viewers then repeat the above process in the normal fashion, taking the target coordinates between three and five times, seeing if any of the ideograms return subsequent to the appearance of a different ideogram. Once this occurs, or after taking the coordinates five times, viewers proceed to Phase 2L.

Phase 2L (the "L" stands for "landscape") is similar to Phase 2 in basic SRV. It captures the idea that the viewer is will "stand back" and perceive Phase 2 data originating from the overall target site. The data are no longer limited to those of a particular gestalt (i.e., one ideogram). Now, the Phase 2 data from all of the perceived gestalts compete (in a sense) for the attention of the viewer's subspace mind. Thus, the data that are perceived in Phase 2L are generally those that make the strongest impression on the viewer's consciousness. Despite the labeling of Phase 2L, the page is oriented in the vertical or portrait mode.

Phase 2L prepares the viewer to assemble the previously collected Phase 3 data (for each of the ideograms) into one composite sketch. This new sketch is performed in Phase 3L. As before, the "L" represents "landscape," and it implies a wider-angle perspective of the target site within which previously collected sketched data may potentially be placed. The Phase 3L page is positioned in the horizontal or landscape mode. Viewers can spend some time constructing their Phase 3L sketch. Especially if a viewer's mind is deeply settled, the viewer can carefully contemplate the intuitive feel of the emerging sketch, placing each component in its appropriate place with marked deliberation.

It is not required to place each (or even any) of the previously sketched Phase 3 gestalts in the Phase 3L sketch. Indeed, it is common for sessions to have accurate Phase 3 data that do not appear elsewhere in the session. But the viewer should be aware that it is permissible to place modified forms of some, many, or all of the previously obtained Phase 3 sketches in the Phase 3L drawing should the intuitions be so directed.

Enhanced Phase 4

Enhanced Phase 4 is highly interactive and nonlinear. With basic SRV, the structure is predominantly sequential and linear, taking the viewer from one step to another, allowing minimal structural flexibility. The linearity in the basic SRV structure is a product of design. Beginning students of SRV require the more rigid structural constraints so as to limit the intrusion of their conscious minds into the data collection process. Advanced practitioners of SRV are sufficiently familiar with both the structure of the session as well as the "feel" of the data such that they can take advantage of a greater degree of structural freedom as they interactively pursue their quest to understand the target.

Using Enhanced SRV, viewers work with a minimum of four, and often five, pieces of paper simultaneously. Each page is used to accomplish something different from that of the other pages. The first page is the normal Phase 4 matrix. The viewers work the matrix and go after the "Big Three" in the same fashion as with basic SRV. However, there are some differences in the way viewers conduct other aspects of Phase 4, all of which are described below.

Tactile Probing

With Enhanced Phase 4, viewers extensively use their hands, and even their physical bodies, to explore the target. Once viewers have a mental image of the target, however fuzzy, they can then "place" this image in front of themselves, on top of the table at which they are working. Viewers can then use their hands to "feel" the target, both externally and internally. With external probing, viewers tend to run their hands over the outline of shapes of things at the target site, like structures, mountains, and even faces. With internal probing, viewers press their hands (usually from top to bottom...although there is no rule here) through the target, perceiving internal aspects of structures, and so on. In one of my own sessions, I clearly perceived that a structure had three floors during an internal probe. I made this determination using my hands. I also perceived that there were subjects on the third and first floor of the structure.

Tactile probing is not limited to the use of the hands. One can also place one's head, or even one's entire body into the target at any given spot. For example, in the situation in which I used internal tactile probing with my hands to determine that a structure had three floors, I then placed my head inside of the structure to take a look at what was on each floor. This was done by literally bending my head forward while sitting at my desk and placing my head in the middle of the projected image of the structure (which was on top of the desk in front of me). I then discerned that the top floor had two subjects, one a male and the other a female. The bottom floor had a large number of subjects milling about.

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

After all tactile probing, the viewer returns to the Phase 4 pages and enters the data in the appropriate places. If the data are verbally described, then the viewer enters the data as ordinary column entries, or as P4 1/2T entries. Here, the "T" represents "tactile." P4 1/2T entries are exactly the same as P4 1/2 entries, with the exception that there is no expectation that they be supported by previously entered column data entries that contain the essential components that are pulled together by the P4 1/2. When reviewing the session, the analyst knows that P4 1/2T entries are the result of tactile probing, not probing the columns of the Phase 4 matrix.

Novice viewers often have sessions containing one or more series of run-away P4 1/2 entries that are not supported by detailed column probing and data entries. Viewers need to be strongly counseled to avoid unsupported P4 1/2 statements in general. Advanced viewers are sensitive to this, and labeling a statement as a P4 1/2T removes any inhibition that might cause a viewer to edit-out data that should be entered as a statement rather than as a column entry.

Phase 4 Sketches

If at any time during the remote viewing session a viewer obtains a visual image of the target, or an aspect of the target, it is essential that the viewer sketch this image immediately. Such mental images can arise during the process of probing the matrix, but they can also result from tactile probing of the target. In Enhanced Phase 4, there are three sketch pages. These pages are labeled Phase 4I, Phase 4E, and Phase 4L, where the I, E, and L represent "internal," "external,", and "landscape," respectively. The pages are "numbered" "a," "b," and "c," respectively, as well. All pages are positioned in the horizontal, landscape mode.

When the viewer perceives a visual image, the viewer decides on whether the image is an internal or an external image. An internal image is one which has a mental flavor of being inside something else. For example, the viewer may perceive the inside of a room, or the inside of a piece of technology. In a case in which the image is the first obtained during Phase 4, the viewer places the letter "A" in the physicals column, and then circles the letter. The viewer then goes over to the P4I page, places an "A" on an empty spot on the page, circles the letter, and then proceeds to draw the internal image near the letter. Placing the drawing near the letter allows the analyst to associate that particular sketch with the precise point in the matrix at which the image was perceived.

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

The Phase 4L page is similar to the Phase 3L page. Phase 4L is for putting the pieces together. Many target aspects sketched on pages P4I and P4E can potentially be located and re-drawn in modified form in the landscape P4L representation of the target. Phase 4L sketches are wide-angle representations of the target. The pieces can be assembled with considerable deliberation as well (that is, there is no reason to rush a P4L sketch). However, it is not a requirement to draw a detailed Phase 4L sketch, even though this may be optimal under ideal situations. Nor is it mandatory for any or all of the P4I or P4E sketches to be transferred to the P4L drawing. Sometimes a P4L drawing is simply a larger or more detailed version of the most important aspect of the target. But the goal is to use the P4L page to make a drawing that optimally displays a more complete perspective of the target than that which is available in any of the other Phase 4 sketch areas.

It is important to place the Phase 4 matrix and sketch pages in a proper arrangement before beginning Phase 4. Thus, the viewer needs to create a matrix page as well as the three sketch pages immediately after leaving Phase 3. All four pages are arranged in front of the viewer in a rectangular pattern, just as rectangular tiles are arranged on a kitchen floor. The matrix page is placed at the lower left (lower meaning nearest the viewer). The P4I page is placed at the upper left (upper meaning farthest from the viewer), directly above the matrix page. The P4E page is place along the right side of the P4I page (the upper right with respect to the viewer). The P4L page is placed along the right side of the matrix page (the lower right with respect to the viewer). All pages are arranged side-by-side with their edges nearly touching.

The arrangement of the Phase 4 matrix and sketch pages is important due to a need to create a fluid interactive working area within which the viewer can operate. The pages must not be piled one on top of another. The viewer must not have to search for the correct page when the need comes to move to a particular sketching area. The hand motions of the viewer must simply be left and right, forward and backward, in order to arrive at an appropriate area within which to continue the interactive and nonlinear pursuit of the target's description. Moreover, it is essential that the matrix and all of the sketch pages be arranged in front of the viewer so that the viewer can interactively refer back to the aspects of the target as they have been variously depicted.

It is the norm for all sessions to fill up multiple Phase 4 matrix pages. The page numbers of the matrix pages are simply a continuation of the number given to the first Phase 4 matrix page. After the first matrix page is filled, that page is removed from the arrangement of pages in front of the viewer and a new matrix page is inserted in its former spot. If the page number for the first matrix page is 9, then the next matrix page is number 10. The sketch pages have their own "numbering" system which uses letters, and the two systems for matrix and sketch pages are not mixed. When the session is finished, all of the numbered pages are stacked sequentially first, followed by all of the sequentially arranges sketch pages.

When probing sketches (part of the "Big Three"), viewers generally use the back-end of the pen rather than the pointy end that is used to make marks on paper. Professionally collected data are valuable. Such data are often shown to others, and are regularly displayed publically on the Internet as well as in print. Thus, it is important that professional viewers not degrade the publication quality of their data by scattering probing marks on their drawings. To begin probing from within Phase 4, viewers write "(sketches)" in the physicals column to signify that they have begun the sketch probing component of the Big Three. While any of the previously drawn sketches may be probed, in practice most probing activity utilizes the P3L and P4L drawings.

An Analytical Worksheet in Phase 4

Occasionally it is necessary to explore the target in Phase 4 using some of the analysis techniques of Phase 5. This is particularly true of symbolic diagrams that allow the viewer to describe relationships between various subjects, or between subjects and objects. Such abstract diagrams are not sketches, and thus cannot be placed on a sketch page. There is an optional Phase 4 worksheet page that is useful in such situations, and it is referenced here as a Phase 4W page, where the "W" represents "worksheet.". The viewer creates this worksheet only after the need for the page is determined by the course of events in the session.

The Phase 4W page is created in landscape mode, just as with the Phase 4 sketch pages. "P4W" is placed at top, center of the page. The page "number" is normally "d," unless the viewer has already used this "number" for an additional sketch page, in which case the worksheet page would be "numbered" "e."

The worksheet page does not need to be arranged in any particular place in front of the viewer. Normally it is kept to the side (either side) until needed. The viewer can use the worksheet page by leaning over to its location, or by temporarily moving the Phase 4L page and placing the P4W page in its place.

To execute a symbolic diagram in Phase 4, the viewer would do everything exactly as it is done in Phase 5. The viewer needs to draw two symbols (if there are two components to the symbolic diagram), label these symbols, and then draw a line between the symbols and label this line "relationship." The viewer then enters the labels for each of the symbols in the Phase 4 matrix in the appropriate columns, all along the same horizontal row. The word "relationship" is placed in square brackets in the concepts column, again on the same horizontal row as the labels for the symbols. If one of the target aspects being explored is a subspace aspect, then the label for that aspect is entered in either square brackets or parentheses in the subspace column. The choice of square brackets or parentheses is determined by whether or not the word used to label the target aspect originates from the viewer's own data (which would normally be the case with a solo session). If both target aspects being explored are physical aspects (such as a subject and a structure), then the labels for both aspects are placed in the physicals column, separated by a slash, both wrapped together in one set of either square brackets or parentheses.

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

The viewer then probes the symbols on the P4W page, as well as the relationship line, and enters whatever data results from these probes in the Phase 4 matrix. When the viewer completes the symbolic diagram procedure, the viewer then moves the P4W page off to the side, and returns the P4L page to its proper place in the arrangement of the Phase 4 pages. The viewer then continues the session normally, remembering the "Big Three," as well as to work the target.

Readers are encouraged to examine closely the example session that accompanies this chapter. Many of the procedures described here may seem complicated or confusing at first. But a careful examination of the example session will normally clear-up any confusion about the execution of these Enhances SRV procedures. Again, these Enhanced SRV procedures are used by all professional viewers at The Farsight Institute.