How do I remote view?

Grab something warm to drink and sit with me for a minute for this easy guide to remote viewing.

When people ask, “How do I remote view?” I don’t like to hand them a wall of rules or protocols. I walk them through the first three phases of Controlled Remote Viewing (CRV) the same way I’d talk to my best friend. Phases 1–3 are where you learn to keep things calm and grounded before your mind starts making up stories. These phases are also exactly how the original CRV manuals describe getting oriented: contact the target, name the big-picture “feel,” then gather sensory information and start sketching.

First, about the “coordinates”

That 12-digit number at the top of the page, something like 251006SM8231 are the Target Reference Number (TRN), a blind ID that references a point in time and space. It links your session to the right “book,” and keeps you from guessing the target by name. The declassified manuals and training guides all frame it that way: coordinates/TRNs are administrative, useful for blind tasking and feedback, so your mind stays neutral.

Phase 1 : Make contact and get the gestalt

Here’s how I actually start. I write the TRN, touch pen to paper, and let a quick ideogram happen: a spontaneous squiggle my hand makes before my mind is conscious of what is happening. Then I notice the feel/motion in that squiggle (does it rise, fall, curve, hook?) and identify the gestalt like land. water. manmade, natural, biological, motion, space, etc. In CRV, that’s the classic I-A-B: Ideogram → feeling/motion (“A”) → first simple label (“B”). Manuals call Stage/Phase 1 the foundation for target contact and the site’s gestalt, not details, not names. This is how you ground yourself so you don’t start fantasizing and imagining details that aren’t there. Our brains love to help… a little too much. If you don’t grab a clean gestalt early, your brain will happily invent a spaceship, a person, a childhood beach, etc. A gestalt fences that in.

Phase 2 : Simple senses, not stories

Once the gestalt is labeled, I move to each one and record brief sensory notes: cool or warm? gritty or smooth? echoing, humming, briny, metallic? Think “what my body would notice if I were standing there,” not “what I think it is.” Classic CRV treats this phase as a sensory sweep: colors, tastes and textures and sounds. Any mental picture that tries to turn into “it’s a plane!” gets tagged as a stray cat (SC) and set aside. You’re building believable bricks on top of that Phase-1 truth.

Phase 3 : sketches

Now, this is where I give those words a place to live. I make a simple sketch: a horizon line, an enclosure, a tall mass, an open sweep, whatever I’m seeing. If something’s moving, I mark arrows (flow, rise, fall). Phase 3 is all about dimension and motion before any analysis. The training materials describe this as getting the site’s spatial feel onto paper so later detail has a home. We’re still describing here, not identifying.

In this work, respecting the structure matters more than chasing fireworks. Keep it quiet, keep it short, and let your first truth land. This is what I do as a remote viewer.