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Remote Visions 2: An RV session with Lyn Buchanan

Shortly after interviewing Lyn Buchanan about Remote Viewing, I was lucky enough to get the chance to have him guide me through a session as a remote viewer. It was a fascinating experience.

This is the full transcript.

Dunedin by DownUnderPhotos

Dunedin by DownUnderPhotos

Ghostwoods: Hi Lyn. Good to talk to you again. This time, you’re going to guide me through a Remote Viewing session, is that right?

Lyn: Right. Let me run over to the closet. I have a stack of targets for teaching class today. I’ll just grab one of those.

GW: OK, great. I haven’t done any preparation but I guess it’s not really necessary for this sort of thing.

Lyn: Let me see. I have one here.

GW: Ok, great, what do I need to do?

Lyn: Ok, first of all you need to write down your information — name, location, starting time, and so on. You can do that later for this. You do need to write down the starting time now though.

GW: OK, right.

Lyn: I can give you some coordinates. Have you worked with ideograms?

GW: I have done some ideogram things so I know what you mean by that, yeah.

Lyn: Ok, sometimes we tell a viewer what their work is. We don’t tell them anything about the targets, but just what the intentions of the brief were. Do you want that, or do you want to go into it cold?

GW: No, I might as well go in cold, I’m game.

Lyn: OK, sounds good, that’s the best way, that’s nice. OK, let’s see, let me give you some numbers to write down. Are you ready? OK. 060221000011.

GW: 060221000011.

Lyn: Right, OK. Part of the reason of those numbers is to get your pen moving so you don’t have to start with it cold to get the ideogram, so let me give those to you again and as soon as you write the last one, just go ahead and make the ideogram, your pen will be moving already.

GW: Ah, OK.

Lyn: OK. 060221000011.

GW: OK.

Lyn: OK, um, look at the ideogram, feel your way along it, see if there’s a change in the feel of it anywhere. If there is, register that point with a little tick mark.

GW: Whoa, yeah! There is!

Lyn: Are there any more? Is there Only one tick mark / only one change, or is there more?

GW: Uh, there’s a second change right towards the end as well. I can’t define what the changes are, but if you… well, something feels a bit different.

Lyn: That’s it. That’s all you’re looking for. So we have an ideogram that has compacted into it three different gestalts. Now take each one in turn, over to the right, look at each one, and trace the shape of only the first one.

GW: Right. Do I tell you what the shape is?

Lyn: Yeah.

GW: Okay. Umm.

Lyn: It only has the three dimensions — like it goes across, it goes up, it goes down…

GW: Oh, Ok. It starts off slanting upwards, then goes straight down.

Lyn: OK good. Touch that part of the ideogram, see how the pen feels under the paper. Is it hard, soft, rough, smooth, slicky, sticky…

GW: It feels soft.

Lyn: OK good. So you have one that goes up-down, soft.

GW: OK.

Lyn: So now you make a WAG – A Wild-Ass Guess!

GW: OK! Well, if I was going to guess wildly, I’d say this was something like mud or quicksand or some surface that feels fluid, but not necessarily quite as fluid as normal water.

Lyn: OK let’s just call it land then, mud becomes just the generic thing for land. Or do you want to make it water?

GW: Ah… Um. No, I’m going to stick with land.

Lyn: OK, go to the next one and do the same.

GW: Ok that feels a lot firmer. Can I say hard?

Lyn: Yeah, uh-huh, but would that… you start out with 7 basic gestalts: Land, Water, Motion (activity, movement), Space, Biological, Man-made and Natural. Would it be any one of those?

GW: Uh, well…

Lyn: One of the reasons I ask is because all of these images are selected for having one or more of those as the content. This feels hard?

GW: I don’t get a feel of artificial, so I guess I’m going to have to go with land again?

Lyn: OK, sure.

GW:… But harder land, like stone versus mud.

Lyn: So, basically you have harder land and softer, muddy land. So go with the third, see what you get there.

GW: The third gives me an immediate impression of sharpness, spikiness. I think maybe its metal or something, so I’m going to go with man-made for that.

Lyn: OK, sounds good. So we have two types of land and some man-made. The monitor at this point always says “there may be other gestalts. Do you want to take the coordinates again?” It’s totally up to you. It doesn’t mean there are more gestalts, it doesn’t mean anything, it’s just the only patter that the monitor can use at this point.

GW: Uh, no, I’ll stick with this one ideogram, thanks.

Lyn: OK, then let’s, say, describe the man-made. What you do now is try to focus on the man-made and try to get sensory descriptors such as colours, sounds, textures, tastes, smells, and senses like that. Now I need to tell you, in this early part your mind is still winking about the site so you might get descriptors of something that’s not man-made at all but we’ll sort that out later. Right now you’re just going to get descriptors from the entire site, don’t worry about whether it applies to the man-made. Any colours, any sounds, smells, tastes, textures, the ambience?

GW: I’m, um, getting, um… bright.

Lyn: Good. You’d write that down.

GW: Yep. Um. I think it’s kinda like a sheer or flat surface. I’m going to go back to the comment about sharp, that’s still there.

Lyn: Sure. Good descriptor, write it down.

GW: Um, the only colour impression I’m getting is metallic, but I’m not sure whether it’s my mind getting in the way.

Lyn: Don’t worry about that. Your mind will take care of itself. Don’t analyse things.

GW: Can I use a word like row? I get a sensation of a repeating set of shapes, if you see, like a row of things?

Lyn: OK. When you wrote down metallic, did you write down metallic colour?

GW: Yeah. Maybe a sound, a bit like a high-pitched whine, a mosquito noise, not loud but quite faint, cool temperature. That’s all I’m getting from that really.

Lyn: OK. In parentheses — anything I say to you should go in parentheses, to show I wasn’t giving information, and to separate what I give from what you perceive — so let me, say, describe the metallic colour, to pick one at random here.

GW: Something… bronzey sort of colour, yeah, bronzey I guess.

Lyn: OK. Mentally tap on the colour. How does it sound?

GW: Dull! Which is quite a surprise… I was…

Lyn: Put your hand on. Temperature?

GW: That’s… the cool I was picking up, it’s cool to the touch.

Lyn: Feel to either side of it, of the metallic. Do you get any textures, temperatures, sounds, smells?

GW: I’m getting a rough feel, like brick. It’s warmer as well.

Lyn: Warm, you say?

GW: Warmer than the metallic.

Lyn: Mentally stop and listen for sounds, do you hear anything?

GW: Uh, I don’t have much confidence in the perception, but the first noise that hit sounded like a car rushing past quickly.

Lyn: OK.

GW: But I’m not sure, it didn’t feel in quite the same part of my mind, so I’m not sure if its imagination or not.

Lyn: Oh, don’t analyse. Every time you analyze a perception, it tells your subconscious, “I don’t trust you”. And so, whatever you get, put it down on paper. We have a way of doing the summary, once you get really in touch with the site, then you use these adjectives and you go back and then you can evaluate each one of these… because then you’ll have stronger contact with the site. So while you’re doing the session it doesn’t matter what you put down, because if its garbage, it’ll get thrown out later.

GW: OK, cool, thank you.

Lyn: So, mentally…

GW: I’m getting quite a lot of sensation of wind generally.

Lyn: Ok, good, good, write it down. You may be subliminally picking up the window I’m sitting beside, it’s blowing thru here like crazy. Do you get any perceptions of colours, sounds, tastes, textures? No matter how slight.

GW: OK, I’m getting cloth.

Lyn: Is that a cloth texture?

GW: Yeah.

Lyn: Ok, write down cloth texture. We keep nouns out of remote viewing, because as soon as you say a noun you lock yourself into an idea. You said cloth texture, a while ago you said brick, you wouldn’t write down brick, you’d write down brick texture. Look down, do you get a colour?

GW: Dark. Darker, dark.

Lyn: Ok, darker colour looking down?

GW: Yeah. Uh. Something of a yielding, crunchy…

Lyn: OK, You’re talking about the dark now?

GW: Uhh… Yeah.

Lyn: OK, in parentheses, put down that it applies to whatever it is that’s dark, that lets us know you’re talking about the dark.

GW: OK, I see. The obvious mental conjecture there is that I want to say gravel, but I know I probably shouldn’t.

Lyn: OK. Put Gravelly, and then put I know I shouldn’t say gravel. You want to record everything that goes through your mind.

GW: OK.

Lyn: Then mentally reach with your hand and touch that darker part, move your hand across it or through it. see how it feels.

GW: Uh, it feels unpleasant actually. Sticky and cold.

Lyn: OK, good. Put your nose to it and smell, how does it smell?

GW: Uh, it’s a smell that reminds me of resin — pine or something, not quite like that. I could say resiny, but I can’t put my finger on it. Almost but not quite chemical. I don’t think it is chemical.

Lyn: OK. Listen for sounds, tastes, textures. Any shapes or sizes you might have perceived.

GW: Tall. Tall is an immediate response.

Lyn: Ok good.

GW: With that tall is an impression of straightness, and a fair amount of thinness. So it’s not like a mountain, which would be sprawly, but more like a ram-rod sort of tall.

Lyn: OK, good. Make sure you get all that down, and keep describing it all.

GW: Uh. Piercing. Hmm. Resonant is a word I’m getting from somewhere.

Lyn: Alright, good, make sure you write it down.

GW: And, uh, cool temperature again.

Lyn: OK, good. Move to the cold temperature and describe it. You see, in RV we can only cue you with things you’ve given to us, sort of messing around on your own words, so describe that which is cold temperature.

GW: Is that in with the tallness still?

Lyn: Oh, it is?

GW: Well, with the darker stuff underfoot I got a feeling of coldness, and then with this tall straight thing, I get a coolness with that too. So do you have a preference to which you want?

Lyn: Uh, whichever one you think you need to, and make sure you make a note of which. If you’re with the tall thing now you may want to stay with that.

GW: Yeah, I’m pulled to the tall thing. Uh. It feels smooth. Part of me wants to say flat, part wants to say round. So, I don’t know, some hybrid shape going on there. Or something. Um. There feels quite a lot of it. I guess I mean that… I’m not sure what I mean.

Lyn: It’s hard, isn’t it!

GW: Yeah, it _is_ hard! Um, right. It’s like maybe there’s more than one?

Lyn: OK, that’s a perception.

GW: Um. It’s quite heavy, in mass terms. Quite massive. I feel I should be able to shake it around but I can’t really.

Lyn: Make sure you write that down. This massive, can you describe more of it? It’s colour, texture? Slap it, see what sound it makes. Kick it, see if it reacts. Put your nose to it, see if it smells.

GW: It feels… pretty solid. Like if I slapped it, I’d hurt my hand.

Lyn: Good, write that down.

GW: I’m not getting any sense of smell. But I’ve noticed in the past that smell is a perception I don’t often get.

Lyn: That’s my case too. I have to remember there’s a difference between me not getting a smell and the perception that there is no smell.

GW: Yeah, it’s a subtle distinction. All I can say at this time is I’m not getting a smell.

Lyn: Ok, good.

GW: Um, let’s see if I can hit something more specific. Uh… _That’s_ interesting. I feel it _could_ move, as if it is something that has the potential to shift position.

Lyn: Good, write that down.

GW: Just not to my hand, y’know? I couldn’t push it. Just for example like a truck — I couldn’t push a truck, but a truck could move. I’m getting an impression of black and red. Uh. Together I think, close together. Maybe like some kind of badge or sign or something.

Lyn: A badge or sign? OK. Those are nouns. Go ahead and write them down, but remember they’re nouns, so don’t put too much faith in them.

GW: I’m getting, it’s almost like I’m being pulled a short distance. I’m getting a more natural feel underfoot, which implies that before, underfoot was more artificial.

Lyn: Oh, no. No, Don’t make implications. You’ll get your logical mind in there and it’ll just muck around and mess you up all over the place. SO if you’re now getting natural underfoot, that’s what you put down.

GW: OK. I’ll go with a green colour, rather than a brown or a sandy.

Lyn: OK, at this point let me ask you a question, do you have an idea in your mind of what the target is? Even vaguely?

GW: Vaguely, yeah.

Lyn: You need to just write that down over to the side and get rid of it, ‘cos that’s your logical mind trying to make sense of all this. It doesn’t mean it’s wrong or right, just that it’s logical.

GW: What I’m pulling down here to get rid of is radio telescope array.

Lyn: Oh. Heh. Very good.

GW: That’s a fair old logical construct there.

Lyn: I’ll cheat a little bit here and tell you that’s not what it is. Dump that imagination and get it out of your mind.

GW: The broader scale impressions I’m getting are… involve repeated artificial elements in a more natural setting. But I don’t know how to really characterise that as a…

Lyn: You just did!

GW: Oh, I guess so. OK. So we’ve ditched that stuff, off to one side.

Lyn: Well we’ve ditched the radio telescope. The descriptors, I can’t give you feedback about those, but you dump the nouns, you keep the descriptors.

GW: Right. So at this point do I continue probing for impressions?

Lyn: Yeah, at this point we continue getting impressions until there comes a moment when it seems one of those impressions is in front of you or beside you or overhead or whatever and at that moment you say to yourself, you know, it was overhead or beside me or something, and then you write down how it made you feel, and when that happens you’re in what’s called phase three — and in phase three you try to start sketching.

GW: Ok, because that sensation of natural underfoot did come with an impression that I had shifted position.

Lyn: Oh, OK. You shifted in relation to it?

GW: In relation to the target in general, yeah. It felt like I came forward and across, to use directional terms.

Lyn: Very good. That would be what’s called an AI. And you had an emotional reaction to the movement. Can you describe that reaction?

GW: Mild relief.

Lyn: Uh good, very good. Your emotional reaction you have is your reaction and it is NOT a descriptor of the site, and in order to get rid of that emotional you have to declare it as a noun. At this point, it would be a good thing if you could start sketching any of these shapes you get, or anything — sketch the underfoot or the tall thing and see what you get.

GW: OK. I’m a horrible artist, but I’m aware that’s not really the point to it. Um. <sketches> As I’m starting to sketch, I’m starting to get conscious impressions, the sort of stuff I should probably be trying to put aside as static.

Lyn: How do you mean?

GW: Well, like, sketching the tall, I’m getting something which my mind is saying looks like a fence, a bit tall chain-link fence.

Lyn: Yeah, you put the nouns to the side, but what are the descriptors you’re getting? How would you describe a chain link fence? This particular chain link fence?

GW: Tall, massive, flexible I suppose, cold, metallic colour, dark underfoot as well. That’s the stuff I’m sketching there. Um. An emotional impression of oppressiveness. Trying to see if I can sketch… more freely, more generally.

Lyn: Uh, the tall, you said it looks like a fence, move to the top of that, see what you get.

GW: Um, partly I’m getting… I think my mind wants me to be picking up sharpness. I’m picking up sharpness. But I’m also at the same time getting the impression also of a ball on top, but the two are fairly contradictory so I’m not happy about that.

Lyn: Oh don’t worry about that, it doesn’t have to make sense to your logical mind!

GW: OK. Well, those are the impressions I’m getting.

Lyn: OK. Whatever is up there, can you touch it, try to get its texture, colour, shapes and sizes?

GW: Texture is prickly.

Lyn: OK

GW: Almost… compound.

Lyn: Ok, good.

GW: Artificial.

Lyn: Ok, good. OK, um, do you want to find more, or… Do you want to do a summary, or continue probing?

GW: Well…

Lyn: I know at this point if you’re like every remote viewer in the world, you’re thinking you haven’t got anything.

GW: Sort of. I don’t know entirely where I’m going with this. It would be tempting to push the session as long and far as possible, just for the experience if nothing else, however at the same time, for what we need for the magazine and for your time… I don’t want to be, y’know, a hog or a freeloader or whatever.

Lyn: Oh, no problem, in fact if you want to go longer if we run out of time, we can go longer. It’s always up to the viewer to say “I think I have enough” or whatever. You’ve been describing the target so you’re doing well.

GW: Wow, thank you. I think for the moment I’d be interested to go through the summary process and see how things wrap up.

Lyn: OK, good. What you want to do at this point is to say the target has elements of land and then what was it another type of land, and then what was the third one, man-made? So once you have that, that’s the first paragraph of your summary. So then we take the first land, and we’re going to write a paragraph about it, and we say “The first land is:” and we go back through the session. Now, at this point you are going to have to evaluate each thing you said as to whether it describes the first land or whether it describes something else. You know, you’re winking around the site. If it describes the first bit of land, then you have to decide whether or not you still feel its true. If it describes the first bit of land and its true, then you write it into your summary. This is where all the garbage falls out. So what can you tell me about the first type of land that is there, in terms of texture, shape, size.

GW: I think the land I was picking up first… that’s this natural, green, natural background setting. I haven’t gotten very many adjectives from it as I can tell.

Lyn: Well, you got soft, you at one point you said muddy, and I think you said almost liquid but you couldn’t tell, and the temperature?

GW: Neutral to coolish.

Lyn: OK, and did it have a smell?

GW: Not that I’m perceiving. Fresh, my mind wants to tell.

Lyn: Fresh. And any colour?

GW: The green was the only colour I picked up.

Lyn: Ok, start a new paragraph and say the second type of land was…

GW: OK The second land was dark. The texture was rough and particulate to a certain extent — smooth from a distance but rough close up, if you see.

Lyn: Make sure you write that in. And is it hard or soft?

GW: It’s quite hard.

Lyn: Quite hard, OK.

GW: And, um, it was the cold, sticky and unpleasant.

Lyn: OK, good.

GW: I have that resin smell with that as well.

Lyn: Oh, OK, good. Did you have anything else for that?

GW: No.

Lyn: Ok, then you start a new paragraph, and say the man-made was…

GW: OK, the man-made is definitely hard, massive and tall. I’m going to stick with flexible, cold and metallic as well.

Lyn: OK, good.

GW: And the sensation of wind moving.

Lyn: OK. How would you describe the wind, texture or sound?

GW: It sounds thin, if wind can sound thin. It feels quite cold. I don’t think it would be nice to be out in.

Lyn: Good, make sure you write all this in. And you had heard a whine?

GW: Yes, I’d got a whine, and a dull thud from thumping it.

Lyn: OK good, and there were repeated…

GW: Repeated artificial elements, yeah. And then, this prickly artificial compound sharp ball sensation for the top of the elements.

Lyn: Ok good.

GW: And this sense of movability.

Lyn: Good, ok.

GW: I had a cloth texture, but I can’t place that.

Lyn: OK, we have an ‘other’ paragraph for stuff you can’t place.

GW: Ok. That would include the cloth texture, the sound of a passing car, the black & red composite patch…

Lyn: Ok. Oh, ok, I see what that is.

GW:…and a general sensation of brightness, which I hadn’t tied to anything. OK, that’s everything one way or another.

Lyn: OK, do you want to know what you were viewing?

GW: Hell yeah, absolutely.

Lyn: It’s the world fair from 1931, the man who invented air conditioning. It’s a display stand, and there are 10 girls in very very short skirts holding snow shovels and ice picks and, uh, the snow shovels are all vertical ‘cos these girls are lined up in two rows and right in the middle, between the two rows, is Louis Carrier, who invented aircon and there is a sign over to the side which says “Air Conditioning”, and um the picture itself is in black and white and the article heading is in red and black, so what you were seeing as the fence is this long row of snow shovels and ice picks — not like you’d use in a refrigerator but like you’d use… — and uh, the sharp is definitely there and the top is round and made of a wooden handle that spills onto a metal bone-like thing that goes down the shaft. I think you did pretty well. The entire scene is just cold.

Remote Viwing target image

Remote Viwing target image

GW: That’s interesting. Nothing like any concrete image or visualisation I had in my mind at all!

Lyn: This is one of the things people learn they don’t like about remove viewing — all these nouns they come up with, and you come up with pictures, you know, of telescope dishes and everything… But there is a an archway over this thing that is slanted and it is the thing he’s walking out of, and it forms an arch over these women that were standing there. You come up with these nouns and you think you have a picture of the target, but your subconscious mind says “Go ahead, have your imagination, but I’m going to give you the descriptors of the real target.” You get in your mind one thing and then you describe something else, the real target! In classes, they look at the picture and say “Oh, that’s not what I was scanning”, and you go back and have a look at the target and the descriptors and it’s 90% accurate.

GW: Looking back over the descriptors, I can see where it’s coming from. I would certainly associate whine with air conditioning units, yeah! Fascinating.

Lyn: Well, while the session wasn’t what we Texan’s call a “real barn burner”, it was VERY impressive for a viewer of your level of training and experience.
You got the dark flooring underneath the ice.
You got the ice itself, saying in the beginning that it was wet and almost liquid.
You described the snow shovels and ice picks very well (I would have focused on the legs, myself!)
You very accurately described the sounds of the air conditioners and the “fresh” smell of the shaved ice.
There were several other minor things about the target which you accurately “nailed”, as well.
All in all, a very impressive session, and it helps me get my point across. I don’t want to show people that I can do it… I want to show them that they can do it.

GW: Well, that’s very generous feedback. Thank you very much.

Lyn: Thank you! It’s been a good session, you did very well.

Red Phone Box, a darkly magical story cycle written by myself, Warren Ellis and twenty-six other writers, and edited by the sublime Salomé Jones, is out now. I think you'll like it.

Posted in paranormal, people, personal.


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Continuing the Discussion

  1. Remote Visions: An Interview with Lyn Buchanan linked to this post on December 4, 2009

    [...] Note: To read the transcript of Lyn guiding me through an attempt at Remote Viewing, click here. [...]