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July 29, 2015 - Project Camelot
45:40
COURTNEY BROWN : REMOTE VIEWING THE PHOENIX LIGHTS
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Time Text
Okay, I believe we're now broadcasting.
This is Carrie Cassidy from Project Camelot, and I am here with Courtney Brown from the Farsight Institute.
And we're going to be talking about his fascinating experience with his remote viewers and their remote viewing of the Phoenix Lights.
And I am hoping that everyone can see the poster at this moment.
And so let me double-check that this is actually...
Yeah, I think now you can see it.
So this is the poster and this is a live broadcast.
So we are going live now.
Courtney, welcome.
Hi, Carrie.
I want to thank you for getting me on your show.
Well, thank you so much for coming on the show.
It's been a while and we've had some other broadcasts that we've done in the past with you.
Actually, just starting to hear a bit of an echo.
Yeah, that was me.
I was testing your feed.
The only thing showing on the YouTube thing is your camera.
So, I'm not visible on the camera.
Okay.
Well, what we're going to do is, now that we've started, I will see if we can switch screens.
Or we can just do this audio.
It's okay.
I just wanted to let you know.
Okay, we are presenting this poster now to everyone, I'm told, according to this Google Hangout thing.
And so, what's going to happen with this broadcast?
And I have to say that we're still experimenting with this technology to see if it's going to actually work.
We do have Courtney here on camera.
I'm going to see if we can get him.
There he is.
So now, Courtney, you're actually visible.
And I don't know if you're monitoring this anywhere.
Yeah, I'm monitoring it.
I don't see.
I just see the poster.
Okay, well, there could be a delay.
Let me see.
Okay, there you are.
Do you see yourself now?
Not yet.
Okay.
Just the poster.
All right.
Well, it's not a bad thing.
Oh, okay.
I see it now.
There is a long delay.
Yeah, there's quite a delay.
All right.
Interesting.
Okay, well let's just proceed.
The poster was only just sort of to label this video so that when it goes onto YouTube it's got sort of a heading and all of that so that we don't have to take it down and re-upload it with all the editing that we normally do.
So this is going live over Google Hangouts and hopefully it's working.
I'm not able at this moment to monitor And I don't even know if we're going to get an audience out there.
And I know this is crazy, but...
It's okay.
I can see it.
There's 34 people watching now, and so things are okay.
Okay.
Well, it's not very many, but as I say, we've only advertised this on my website online.
And we didn't make a big announcement about it.
So hopefully this will be seen after the fact.
And that's what usually happens with most of my broadcasts.
So, Courtney, why don't you introduce yourself and tell people a little bit about who you are and then explain why you decided to remote view the Phoenix Lights.
Sure.
Well, as you know, I'm Courtney Brown and I'm the director of the Farsight Institute.
And that's the leading venue for the study of remote viewing as it's done using procedures that were developed by the United States military and used for espionage purposes.
So, these procedures, we are the biggest, best venue for full-blown public projects.
of using remote viewing and I can say that unambiguously because we're the only venue for these projects.
So we have a large number of projects that we've done with the absolute best remote viewers on the planet and the current project that we're talking about today is the Phoenix Lights which is a really fascinating project Because it deals with something that was witnessed by so many people.
So we're talking hundreds of thousands of people.
And in Phoenix alone, we're talking about tens of thousands of people.
But these were...
Lights that were seen over five states, that includes Sonora, Mexico, as well as five states in the southwest of the United States, on the 13th of March, 1997, that was a Thursday, and some of them,
they flew in formation over this large area, and then they settled in over Phoenix for like almost two hours, and the lights were connected to something, like a ship, a craft, That was clearly visible because you could see the underbelly of the craft and it was so low and so big it blocked out the sky above at certain points.
And this was witnessed not only by tens of thousands of people but also the governor of the state, Fife Symington, who was a former Air Force officer and a pilot.
He himself said he knew everything that flies and this was bigger than anything he'd ever seen.
He said it was absolutely not flares because flares don't fly in formation.
Because of the eyewitness reports on this, the case was so clear that there was something there.
That we decided it would be a good project because the official government explanation for it came out six months after the event and it was a flight lieutenant who came out and gave a press report saying, oh, those are just some flares that we dropped, a military training exercise.
Well, given the number of people who were witnessing the thing, if that was just some flares, they would have said it the next day.
But nonetheless, the flare concept did not match with what the eyewitnesses said.
And the eyewitnesses were so many, including the governor of the state, Fife Symington.
So, that was a clear mystery for us to use remote viewing on.
Now, remote viewing is, as we do it, is not like it was done in the old days.
In the old military days, and the way we used to do it at Foresight, was with paper and pen.
And it was deathly boring to watch.
It worked, but you really had to be an aficionado to want to look at a lot of pieces of paper that describe things that were happening.
So what we did was we shifted.
This was something that was really pioneered by Dick Allgaier, one of the remote viewers that works with us.
And he had been a celebrity newscaster in Hawaii for over 30 years.
And he was more comfortable in front of a camera than off camera.
So he said, why don't we do this on video?
I was very hesitant at first, but I said, well, let's give it a try.
And so he did it and turned out to be so great.
We included the entire video thing on our Atlantis project, which was dealing with an underwater anomaly that was visible on Google Earth.
And that's available for free now on our website at www.farsight.org, F-A-R-S-I-G-H-T.org, like seeing far.
And then that was such a great idea, we decided to do it again, and we did it for our Great Pyramid of Giza, the origins of the Great Pyramid of Giza, how it was actually built, using Dick Algeier and As Smith, the remote viewer from the UK, and they were two of the best the remote viewer from the UK, and they were two of the best and we did that.
A video project essentially and that turned out so well we switched over to video entirely.
So that's all we do now.
We use paper and pen only for warm-up sessions and then we go right to video.
We're also training a new generation of very young people.
In remote viewing and we start the training with video right in the beginning.
So they do paper and pen and then they immediately go to video.
So this is not something that we're going to be introducing after they get good with paper and pen.
It's just part of the initial training process right off the bat.
And we call these young people the young masters and we have a A video, a training video, about seven minutes long for every week.
And we've started to post them.
We're going to be posting one a week.
Every Friday we put out new video stuff at the Farsight Institute.
That's our release day, Friday and Saturday for our email newsletter and those young masters you'll be able to get acquainted with them, see their work over the period as they prepare to do official big projects with us and so that will be exciting for people to watch.
So that's why we did the Phoenix Lights.
We did the Great Pyramid of Giza.
Oh, I should mention that the Great Pyramid of Giza project, which has long been available as a video on demand with Vimeo or as a DVD, that's going to be released for free on YouTube as well in the middle of next month in August.
So I've been in about two weeks.
So, that'll give people a good idea.
We'll have two projects, Atlantis and Giza, that people will be able to see the type of work we do.
We want people to be able to see some of the stuff.
Almost everything on our website is free, 99% of everything, including a whole Host of instructional material, way over 20 hours of work hosted by YouTube plus printable text for these things.
There are a few projects that we have that are very recent.
Phoenix Lights is one of them where we do charge something for it and that's because it costs us money to make these things.
Video production, we've gotten much better at it.
It's very professional now, especially with the recent stuff we've been doing.
It really We've really gotten really good at it.
It's taken a while, but we're great at it now, and it costs a lot of money for us to do these, so we do have to charge something for the videos of some of the more recent projects.
99% of everything we have is for free, and we keep releasing free stuff every Friday.
And so we are the venue for this type of stuff.
So the Phoenix Lights is one of the most...
Oh, and also we have a lot of trailers for all of our projects.
And the trailers are not like advertisements as much as they are Little windows.
They are behind the scenes windows into what's going on with the project.
So the trailers themselves are lots of fun and interesting to watch.
Anyway, and we have a ton of those on our YouTube channels.
So anyway, the Phoenix Lights was a real big thing for us and it's just been released.
Okay, I appreciate that whole background.
Although I'm still mystified, just in terms of the Phoenix Lights, is it because of the sort of dichotomy between what was going on with the military, their explanation not matching...
Maybe what witnesses were seeing.
This is many, many years later.
Is it mainly because of that that you sort of chose this?
Because obviously there's a universe of possible targets, right?
And so I'm still wondering why this particular incident, did it resonate with the young people that you're talking about?
Do you know what I mean?
Well...
We have very rarely done projects involving extraterrestrials at Farsight.
We have been focusing on targets that are basically Earth-oriented, Google Earth or Google Earth stuff, but nothing that's like UFO, ET type stuff.
And so most of the reasons for that is the remote viewers that we work with really didn't want to do those type of targets because They were really yearning for mainstream acceptability and they didn't want to add the extra woo-woo factor of UFO type stuff into the whole mix.
But eventually I said we just have to get over this and so we designed one project Involving four targets that we called remote viewing the aliens.
And so I was just going to get it out of our system, do it once.
And those four targets addressed two things.
I mean, three things.
Cydonia Mars, the so-called face on Mars, and also an anomaly on...
That looked like in a clear NASA photograph supplied by the Cassini space probe, the facilities on a wall of a crater in Iapetus, and then I threw in the Phoenix Lights as well, because with the Cydonia Mars,
the so-called face of Mars, there's such good photographic imagery that we could use that, because all of our projects have to have something that's verifiable, so we needed The photographs to have verifiable stuff that we can compare with the remote viewer's data in order to know if the new stuff is worthwhile.
And same thing with the Aliens on Iapathus project.
We needed the photograph so that we could compare that with the data.
And the photograph was great because the remote viewers came in clearly with information that was unambiguous, clearly stating, this is a barren icy moon with no vegetation, no life, and there's meteors, craters all over the place, and why am I here?
That type of stuff.
And they saw the facility and they explored it.
Now the reason we did the Phoenix Lights, that's a little bit of a diversion, Because we don't have official governmental release photographs.
There are some photographs and videos that you can find on YouTube and things like that, but they were privately taken.
So that was something that we normally would not have done for a project except for the fact that the Phoenix Lights was witnessed by so many people.
It was the enormity of the audience for that event that made it a choice that we could do.
So we were searching for targets that either had clear photographs with anomalies that we could explore or huge numbers of witnesses.
And the Phoenix Lights qualified on the second criteria.
Okay, but now you did not show them, your remote viewers, you didn't preload them at all, correct?
No, we never do that.
In fact, the only thing we do is I send them a non-leading email saying we have a target, remote view it.
Period.
That's all they get.
And then they do a paper and pen session to warm up and then they go to video and they do it and they send it to me on Dropbox and then we show the entire things basically unedited within the DVDs, video on demand, the final finished video release.
So that people know we're not spinning it because they can watch the whole thing.
But the quality of the remote viewers that we work with is so great that it's like you're on the edge of your seats watching it while you actually see them explain it.
They got everything.
They got, hey, this is a city in the American Southwest.
People are on the ground.
They're looking up.
There's lights in the sky.
There's this huge craft.
I mean, they got everything.
I mean, it was like the descriptions were so clear, it would not have been better if they had been there with them physically with their own eyes.
In fact, it was better the way they did it with remote viewing because they could go up and enter the craft and actually see what was going on in the craft.
So in that sense, it was better than if they were physical eyewitnesses.
Absolutely.
Well, it's a wonderful video, let me say that, and very fascinating to watch them at work.
And what happens, it seems, and I don't know how much you want to get into it, and I understand that we're limited on time here as well.
Is that correct?
Yeah, I have to wrap up in about 40 minutes.
Okay, so I want to be sort of concise as I can with my questions.
And at the moment, I'm not sure how we can take...
Questions from the audience unless you're on my Google account.
And I think that you can join or try to join and ask questions perhaps there.
But I'm sorry that I don't know exactly how to...
How to find the answers or questions.
But at any rate, so what happens with the remote viewers is they have no information, but they are, in this video, you watch them draw several times.
They erase the board.
So they, in essence, erase some of their work.
Now, what about that?
Because it is kind of interesting that They're doing a lot of notes and sometimes they're drawing things, etc.
It would seem that other than on video, you're not going to have a record.
Am I wrong?
Well, the video is the record.
You're either dealing with a video record or you're dealing with a paper and pen record.
The paper and pen record, we found, is not superior but vastly inferior than the video record.
You see, with the video record, you can actually have people watch it and you don't need someone standing over your shoulder to explain every little thing that happens.
So with the paper and pen, you can only show a picture on the screen and then a voice-over type person has to say, so this is what that means.
And it's not as convincing as if you have the remote viewers themselves explain what they're experiencing right then and there.
Now for people that want to see How effective this is.
If you go to our website www.farsight.org and in the navigation bar go down to where the instruction area is where it says the young masters.
There you can click on it and right now we have three examples of a young person who is trained from the beginning in using video doing the session on video and they're only seven minutes long and we have a bunch of them.
One was an Apollo 17 A session on Apollo 17.
The other one was remote viewing the Golden Gate Bridge.
And another one was the Kobe earthquake of 1995.
And you can actually see the remote viewer do it on the video.
And you get an idea of how good this actually is rather than paper and pen.
So we're not going back to paper and pen.
Paper and pen is the past.
The future is...
Video.
And the recording, the documented record is video now, not paper and pen.
Okay.
Very, very interesting.
Well, you do see them in process, which I think everyone will find fascinating, because you can see them pause, think, try to figure out how to translate what they're getting in their heads onto the whiteboard, right?
Yeah, exactly right.
Okay.
Now, I'm not sure where you want to go with this, and I want to give you as much leeway so that you can kind of describe maybe the trajectory of the information that started to come through, because obviously this is an interview.
People aren't actually seeing the video itself.
But I do have questions.
I saw the video, and I do have questions.
Why don't you go ahead?
Give me your questions.
Okay.
Okay, they entered my mind as I was watching.
I'm sure everybody would appreciate getting answers to them, so go ahead.
Okay, but I'd like to lay some groundwork before we do that because we need to describe sort of, you might say, in a blow-by-blow as quickly or as easily as you can do, sort of as having a storyline that you had two remote viewers, they got certain information from That seemed to come very easily.
And then towards the end, there seemed to be some astonishment, you know, some being perplexed by what he was seeing, one of them at least, and so on.
So why don't you describe it to the viewers so that we can at least set the scene?
Well, the sessions start out on both sides with them getting all of the verifiable information.
Now, the verifiable information is stuff that we know to be true, and we want to see how accurate that is in order to know if we're going to believe anything else.
For example, if they were describing something that looked like Paris with the Eiffel Tower, we would know, hey, stop the project.
Let's just watch something else.
This is ridiculous.
This is not matching.
But they both described a desert city in the American Southwest with lots of people on the ground looking up at night.
There's lights in the sky.
There's a craft up there.
People are really looking at that thing.
It's a focus of attention.
So they got all the verifiable stuff exactly correct, both of them.
It was as if they were working together and checking notes.
But Des Smith was in the United Kingdom, UK, Britain.
Dick Allgaier was in Hawaii and there was absolutely no communication between them during the entire process that they were doing the remote viewing.
They were given no background information about the project, the targets, nothing.
It almost looks like they were working in the same room, describing the exact same thing.
Just on that level alone, it was really exciting.
They both said, well, what is this thing?
And they both went up, and they described it as a first encounters type of a thing, very similar to the way you hear things go on with Star Trek, with the first encounters type of a thing, and that there was sort of a meeting between,
or not a meeting, but an interaction between A culture that was extremely advanced and one that was relatively very primitive relative to the other culture and that the two cultures were sort of meeting for the first time or for an important initial time and there was a lot of excitement in that and then Dick Allgaier in particular,
well actually both Dick Allgaier and Dan Smith went into the ship and described the exact same There was a really tall guy with long hair and a lot of shorter people that were helpers and they described that, both of them, and then Dick Algar, in particular, he went in front of the tall guy's face and he just sort of went really close and examined the guy's face.
Now, Cary, with humans, Humans cannot tell that you're remote viewing them.
If you ever hear a human say, no, I can tell if there's remote viewers, I can tell they're watching me and stuff, that person needs some medical advice.
It's just simply not true.
Humans cannot tell if they're being remote viewed.
We have lots of experience about that.
Well, okay, I do want to ask you about that later on, but go ahead, because I want to keep...
But the extraterrestrials, some extraterrestrials, these advanced extraterrestrials, they can tell you, they can tell if they're remote viewing.
If they're being remote viewed.
And they actually turn in the direction.
It's like when you remote view something, you leave like a ghostly, vestial image of something.
And they actually turn in the direction and sometimes start up a conversation.
It's not too common, but it does happen.
And this time it happened.
And so Dick Allgaier was like right in the face of this guy and the guy just, you know, and then Dick Allgaier actually initiated a question by saying, talk to me, tell me something.
Which is great because in the past when these things happen we sort of rely on the extraterrestrial starting something up.
But in this case Dick Allgaier sort of said, talk to me.
And then the guy started to talk to him and basically described something that was about their travel, how they actually travel and how they get there.
And it was a fascinating physics-type lecture.
Anyway, but it was a very interesting interaction on that surprise and that was very unusual and very surprising.
However, Kerry, the most interesting element of that Is that the entire thing was happening in 1997.
Okay?
Yes.
However, the extraterrestrials in the ship actually knew that they were explaining the event to humans in 2015.
Isn't that cool?
That means that they knew they were doing a light show for the people in 1997.
But they also knew that they were communicating with humans in 2015, explaining what they were doing in 1997.
That was a really interesting thing.
That's really never happened to us before, that type of time situation.
That alone was unusual for us and extremely interesting that the extraterrestrials knew they were actually impacting the Earth population at two different time points at the same time.
Well, absolutely.
Now, did your remote viewer, you know, after the fact, because on the video, he doesn't stop and kind of go into that so much.
He asks the questions, you see him listening and almost seeming to have a conversation, but you don't actually share in the In this particular case, the conversation was mostly one-sided in the sense that the extraterrestrial was doing the talking and Dick was reporting back what the guy was saying.
So, yeah, it really wasn't so much of a give and take, although it started with Dick asking the question.
So, it started with Dick starting the thing off, saying, he said the guy basically had eyes that were like a cat, like the pupils were like a diamond shape going, or an almond shape going down.
So, the eyes sort of looked like a cat, and so he called him the cat man, and he said basically something like, okay, cat man, tell me something.
And the guy started to talk, and that was really cool.
We have encountered this type of thing before, but nothing where the remote viewer actually initiated something and got a response back.
So that was really sort of fun.
Okay, but there was also a sense when he first described the man that he was describing what might be a projection or an overlay.
He began to say that the man could shift, could look different if he chose to, and at one point it seems that he was then seeing the sort of more cat-like appearance.
But initially it was a very smooth, he even said the guy looked something like Julian Assange, if I remember correctly.
Yeah, I think it was something like that type of a look.
The cat-like eyes came about when he got right in front of the guy's face and looked in his eyes.
That's what happened there.
I remember him saying that he felt that the man could change his appearance.
Yeah, there was some sense of that as well, although I didn't get the sense in the video that Dick felt that the guy was changing his appearance on the spot, like morphing in front of him.
It was more like he was describing some type of potential, but he didn't go into that a lot.
Well, I'm just curious.
You know, you work with these people.
Do you go into a discussion after the fact and delve into various things that go on?
You mean, do we talk about what we found, like over Skype and things like that?
Yes.
Yeah, we are talking about...
We're always as amazed as anybody.
I mean, look, when we do these projects, we do not know what's going to happen going into them.
Sure.
So, when we do these projects...
When you see them, you're saying, OMG, how could this be?
This is amazing.
Well, a month before that, before the video comes out and is released to the public, that's what we're doing times 10.
We're saying, you're kidding.
This is what this is all about.
This is incredible.
I mean, how could this be?
This is amazing.
And so, to safeguard our own selves, we like to have all of this done under the squeaky clean Conditions of making sure that it's absolutely, totally blind, no communication because we want to be able to see the results themselves.
We want to be able to know that this is interesting and we're interested to see how close the remote viewers are when they come in with their stuff.
Are they duplicating each other's information under totally different conditions?
I mean one in UK, the other in Hawaii.
So we're the ones who are the first audience for the whole thing and when we show it to people later Let me tell you, we've gone through the ringer in terms of sort of surprise and shock and how could this be type of conversations.
Okay, but the question I just asked you, it sounds like you didn't ask him.
What was the question again?
About the being's ability to morph when he referred to that.
No, I didn't focus too much on that.
The video that we used in the project was straight out of the session, so I don't have any extra information to give you on that particular question.
Okay, what I mean is not so much that you would have it, but that he would have it.
In other words, that you would be prompted by some of the things that he saw or claimed to be seeing and interactions that he claimed to be having.
In other words, to Probe deeper into those interactions.
If I had him here, for example, I would certainly be doing that.
But I don't have that information, meaning I didn't go into that.
You have to understand that after we get these things done, our total focus is in shifts to producing a documentary video that we can show people, and there's a huge amount of stuff that has to be done, so we don't We don't go into that much discussion of the details of what was said as much as we're talking about how to get all the technical stuff done for the video.
But we do have discussions of sort of shock and amazement about the general nature of the project.
But that particular question you're asking is not something I talked about with Dick at any length.
Okay.
So, because I'm sure that people listening, you know, it depends what you're interested in, obviously.
What you're describing, to some degree, appears to be what we would think of as a Pleiadian or certain other races that have been communicating with humans already.
In what you call encounter and situations, and people have described tall, blonde, and so on.
And sometimes people do describe cat people, as they call them, and Egypt certainly is filled with statues of cat people.
Yeah, I've heard of that thing too.
And actually, Catwoman, Haile Berry, has a whole thing in there.
The movie has a whole bunch of stuff in there about the history of cat people.
Right, absolutely.
So I think there would be a great deal of interest on that score.
Now what about the little aliens that were on the ship as well?
It seems like he didn't have as much interaction there.
No, they were sort of silent helpers around the edges.
If I was to guess, and Kerry, I'm guessing at this point, the way they were described, it sounds like they were some of the very small Zeta-type helpers, the ones that were short little guys with wrap-around eyes.
It doesn't sound like, and I'm just sort of speculating at this point, but that's how it, when I looked at how the remote viewers were describing those, that's what it sort of struck me as.
Okay, but if there was communication going on, even in this time in which this was actually happening live, so to speak, and being videotaped, Did the remote viewers not have communication such that they would ask those beings or even ask the humanoid one?
For example, if I had an opportunity to dialogue in real time with an alien from another planet, that's a very exciting occurrence.
I don't suppose that those particular remote viewers, especially if you said they're initially reluctant to do that kind of remote viewing, would not necessarily have a great deal of experience meeting those kinds of beings.
Wouldn't they have quite a lot of questions, for example?
Well, you know, their job is to go into a target and explore what it is and explain to the camera what they see and what they perceive.
So their job really is not, it's not normally part of their skill set.
To go in and engage in communication interaction.
Really their focus is to go in and say this is what's there and this is what's happening and give a complete physical description of it.
So this idea of using remote viewing for communication is essentially new to us and we don't have a lot of experience working under those conditions It has happened a few times, but we don't really have a large set of procedures that are set up for that and to sort of let that sort of come about.
So it may be in future projects or in future years we'll develop a larger set of procedures that people will be using when those types of encounters do occur.
You're raising a good point, Kerry.
We give you an awful lot with these best remote viewers on the planet.
What you're pointing to is some extra stuff that would be nice to have and you're pointing to stuff that we haven't quite wrapped our fingers around yet.
I appreciate that, but this is not an isolated case, and we're out in the general public here, and I just want to say that they're human beings, too.
They would have a reaction, one would think.
They would also necessarily, depending on who they are, break protocol, for example, under unusual situations.
Remote viewing can put you in very unusual situations.
I'm sure you agree.
I think that perhaps you have quite a few, I guess you'd call them protocols in place.
And they are trying to do a good job.
I don't know if they're being paid to do this job, but I would say regardless of whether they're being paid or not being paid, I'm sure they want to do a good job.
But under these circumstances, these are extraordinary, would you not say, circumstances.
I mean, I don't know what kind of viewing your tape has gotten up to this point.
But in essence, what you are saying is that a human being on camera was in essence communicating in real time with the people or the beings that were flying the craft of the Phoenix Lights and they were communicating with them then and there.
You know, I would say stop the presses, you know, bring in everything you've got and sort of approach this in a whole different way, even if necessary.
You've got to act on your feet, think on your feet, et cetera.
But that's what you've got.
I mean, this is what everyone, at least in my audience, certainly is interested in.
They want to know what it's like to be from another planet.
Kerry, you have to understand that we're the only place that gives this high quality level of public projects and the reason the quality is so good is because these particular viewers are trained to stick to protocol.
So, we don't ever throw everything out the window and grab the opportunity.
We Get the quality data that we have, which is really, really super spectacular in terms of descriptions of the environment, the ships, the people in the ships, what's in the ships, the substances the ships are made out of, all that type of stuff.
That's what they're trained to do, and that's what they do, and they stick to that job.
They absolutely do not break protocol because if they did that, they would have to use their conscious mind to do that.
They'd have to think just like you're thinking with your conscious mind and say, oh, this is cool, so now what am I going to do?
As soon as you do that, the conscious mind is going to intervene and take over and you're going to lose the quality of the remote viewing data.
So you can't really do that without We're already developing a set of procedures in advance that are set up for use in that type of a setting and these viewers, this is new to them, that type of a thing.
So the idea of breaking protocol, call the presses, stop the presses, do stuff like that, that simply doesn't work.
You don't get the viewing quality that we get if you do that type of thing.
It appears that he did actually go outside a protocol just by simply talking to the guy.
He initiated a conversation, and that was somewhat new, and that is, but there's only so much you can do with something like that.
Now, Daz Smith, on the other hand, did not do that.
Daz Smith was very strict with doing that, with sticking to just describing what was there.
Dick actually was a little experimental, and I mentioned, I emphasized the word, a little experimental, in the sense that he was so carefully describing what the guy's eyes looked like, he was right in his face.
That was a surprise to me.
He actually got so close, he actually felt like he could talk with them, and so he just said that.
In essence, we're talking about time travel here.
Well, we're talking about across time communication.
Yeah, absolutely.
That's what I was emphasizing earlier, which was so interesting, that the Phoenix Lights isn't just an event that's isolated in 1997, that the extraterrestrials that were on the craft were actually consciously communicating with people that they knew were in 2015.
It was a simultaneous loop.
Exactly.
You know, I appreciate your hesitancy to go down that road.
However, I just do want to make this point clear.
And I have to say, are you also at liberty, or are you at liberty, to say whether or not further communication was established beyond that point?
No, what you saw is what we got.
We did not hold anything back.
What's on the video is everything we got, which is a ton of stuff.
I understand, but what I'm wondering is after the fact of the video, you have a remote viewer who's now established a certain degree of contact with some beings in a craft that goes across time.
I don't know if you've asked this person's...
I'm sorry, what is his name?
That was Dick Algar.
Okay.
I don't know, but did you ask Dick or have you asked Dick whether he has tried to establish further contact?
No, we never do that.
We never go back to the same target because once you do that, it's no longer blind.
It has to be done totally blind and we basically get one shot at it.
I'm sure he's off sometimes.
I'm talking about on his own time.
No.
Once the project is wrapped up, he does it once He reported what he reported, he sends it in, and then he waits until the project closes and they get target feedback on what was the actual targets, and then it's over.
And there's only so much we can ask these remote viewers to do.
It's a lot of work to do everything on video and to get it all to us, and there's only so much time that they have to do this.
We're talking about contact with another species.
I mean, come on, it's not about how much work there is to get on video.
We're talking about going outside the realms of protocol on a human level.
I'm simply asking you.
I can see that you haven't gone down that road.
I appreciate that.
But actually, you know, I question it because I think that, first of all, you don't know what your viewers do on their own time.
I don't know whether you have them sign something that says they'll never go back to a target.
I think that would be pretty extreme if you do.
Harry, find out what we do do.
You're going on a rampage here of yelling at us of what we didn't do because we don't satisfy your informational needs.
You're handling this ridiculously.
We didn't do what you're thinking we did, and I gave you a good explanation of why we didn't do that.
That's the end of the story.
You can't then start yelling at us and saying, this is ridiculous, you shouldn't do it that way.
Nobody's yelling, okay, we'll drop that because you're uncomfortable with it.
It's all right.
It's no problem.
It's ridiculous.
I mean, the point is we've got what we've got.
You don't like what we've got.
You want something more.
And I'm telling you, look at what we've given you with the Phoenix Lights more than what you've gotten from any...
Hello?
Hello?
Courtney?
Hello?
Courtney?
Okay, I think...
Courtney?
Can you hear me?
We're having sound issues.
Can you hear me?
Courtney?
Are you able to hear me?
Hello?
Hello?
Courtney?
Okay, I'm sorry, I apologize.
It looks like we're being taken off the air here.
I don't know why we can't hear anything.
Nothing was touched on my end, so I don't know what's going on.
I don't even know if I'm being heard at this moment, and so I apologize for that.
I think it's possible that this has been shut down.
Courtney, can you hear me?
Okay, I'm not sure how to deal with this.
I guess I'm going to have to close this down and see if I can start it up again.
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