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Ingo Swann - artist, author and father of modernremote viewing.Within the expanding subject of Remote Viewing, made popularby the radio broadcasts by no1 ranked radio station Coastto Coast AM, Remote Viewing has now reached millions ofAmericans and many other listeners from across the globe.Coast to Coast regularly features the leading lights of RemoteViewing in its broadcasts as its listeners lap up the tales ofpsychic spying foray’s against the Russians, encounters withUFOs and aliens and speculation over the search for terroristsincluding Osama Bin Laden. But we are getting ahead ofourselves here - the real story of how modern Remote Viewingbegan has its roots in the 1970s. A well known time in man’spast where ideas and social boundaries were changing. Therewas a sense of freedom in the air, a time where colour seemedto explode in to our lives from a black and white existence ofthe 1960s. From this new dawn of ideas and expression camea man who would change all of our lives - Ingo Swann.Ingo Swann was born in September 14th 1933, Telluride,Colorado, an isolated town nestled high in the safety of theRocky Mountains. Ingo says:”All things considered, my childhood was wonderful -as has been, all things again considered, my whole life.And I will admit that in this I feel I have been blessed.I was precocious. I read my first dictionary when I wasthree or thereabouts. When Mom was talked into buyingthirty volumes of the ENCYCLOPEDIA BRITANNICAfrom a travelling salesman, I had them all read, entry toentry, by the time I got into kindergarten.So I was a problem in kindergarten. I used big wordswhen my peers were struggling with the alphabet andpictures of elephants, sheep and fishes. I could alreadydistinguish between elephants of India and those ofAfrica, while the teacher didn’t know there was a difference.I had what was called an “overactive mind” as a child.This worried my family and others, especially whentaken beyond the reading dictionaries, encyclopaediasand whatnot.I also liked to take things apart and put them back togetheragain. For example, not just Tinker Toys, but thekitchen stove, the plumbing, the telephone and clocks- everything including, to everyone’s horror, the piano.I got it all back together, but my Dad had to pay $40 toget it retuned.But I was consumed by discovering how things worked,and was serious and determined in this regard. I madecharts and graphs and drawings. Most people don’tcare how things work. They just use them.And herewith was the beginning of those illustrationsand graphs and box-and-flow charts which many yearslater were dragged from Stanford Research Instituteinto the Pentagon and DIA headquarters and presentedto their oversight committees and consulting scientists.Diagrams of how, theoretically at least, the so-called“psychic mind” functions.” 1Ingo graduated in 1955 with a double major in biology andart, subjects that remain at the forefront of who Ingo is anda invaluable tool to breaking down the psychic process thatremain with Ingo to this very day.As was the norm in 1955, Ingo completed two years service inthe U.S. army spending most of this time in Korea, where hemade the decision to move to New York and become a painter.It was also the eventful year 1955 that both the Ingo’s worldsof creative experience and psychic functioning came togetherfrom a book he read during basic training at Fort Knox. Thisground breaking classic book was ‘Doors of Perception’ by AldousHuxley (1954) as Ingo says in his own words;“This book was the beginning of a watershed for me.For, you see, in spite of my voracious appetite for readingand book worming study, no one else had ever saidit, nor had it dawned on me that perceptions have“doors” -- and that those doors can be OPEN or SHUT.This led almost immediately to the understanding thatpeople probably have all kinds of perceptions. But thedoors to them can either be open or shut. This REVELA-TION, for that is what it was, that both the creative processesAND psi experiencings are, at base, almost certainlya matter of what doors of perception are open orshut in given individuals.I was stunned by this concept, and still am. Thereafter,as a matter of serious research and amusement, I setabout observing all kinds of people with regard to seeingor sensing which of their doors of perception areopen or shut.Statistically speaking, of course, there are more shutsthan opens. This is something you can determine foryourself if you take interest in observing others withthe goal of watching which of their doors of perceptionsare open or shut.Therein lies a very great tale to be told, and some fullpart of the saga and soap opera of remote viewing resideswithin it.” 1In New York Ingo supported himself by working in the UnitedNations as a typist until 1968, when he decided to become afull time painter and writer. At first times were hard as it is forall who embark on a self employed way of working, and Ingomostly supported himself by writing a number of ‘sexual fic-*eight martinis 5