A Mother's Time Machine
By Kimberly Snow
In January of 2001, four months before I got pregnant, my husband and I were not sure if we were going to have another child or not. We enjoyed the family that we had, the intimacy and simplicity that he and I and our four-year-old son had shared, and debated whether or not to add another member. But my husband came from a large family, and felt that we should have at least one more child. Remembering fondly the bond that he and his own brother shared, he also wanted my son to experience the joys of sibling love as well. I decided at that time to do a Technical Remote Viewing session to find out what the future held in store for us. I cued the target, Kimberly Snow/Next Child. But I did not front load the target. I slipped it into my blind target folder pile, which had close to thirty folders that had been made over a span of six months.
While I did not know it at the time of the session, I drew that target from the pile one week later. As I did the session, it became evident immediately that the target was a lifeform, and I labeled my lifeform gestalt [X], also declaring at that moment my first AOL of "comet". The second aspect in the first sketch was a man made structure, drawn as a large rectangle, which I labeled aspect [A]. The third aspect, aspect [B], was motion.
The raw data from the first stage three sketch was a mix of the target plus aspect [A] and [B]. Some of the data included pale, mottled, porous, dimpled, hot, and rushing. The first sketch of [X] was a lifeform moving down. The lifeform was rather amorphous, and in my stage four data I was tense and had an intangible of "One-two-three…", something pushing out, and the data of something mutating and something like a halo. In retrospect, after seeing the cue and one year later having a new baby girl, I believe the data above was my child forming in the womb and then being born. But the most remarkable part of the session was the data and sketch from aspect [A], the man made structure. I will explain why in a moment, but first, back to the spring of 2001.
It was a turbulent time for us. My husband had recently taken a new job in Oregon, and in December of 2000, he had moved down there to work while my son and I stayed behind in Washington and maintained the house which we had put up for sale. For five months he and I trekked the six hours commute on the weekends to see each other. By April of 2001 we had decided that it was too disruptive not to be together as a family, and so my son and I moved into the hotel he was working at in Oregon. It was not long after that we found out I was pregnant.
To make a long story short, by that summer our house had still not sold, and we were struggling with paying rent in Oregon and mortgage in Washington. It was time for a major change. By September we had decided to pack up everything and head to California. My husband's parents had offered to let us stay with them in a house that they had purchased that was being built and almost near completion. We had never seen the house, but took them up on their generosity and by October of 2001, we were on our way.
Back to January 2001, and the session. The next movement in my session was an exploration of aspect [A], the man made structure. I got all the data of a structure, such as inside, edged, square, glassy, and hard. And then I drew the structure itself. When I looked at the sketch after I had ended my session and saw the cue, I thought it was a hospital, which was distressing to me, because like my first child, I was planning on using a midwife and having another homebirth if I ever got pregnant again. But the sketch looked like a tall multi-floored rectangular building with a vertical elevator shaft running the length of the structure.
It was not until I had moved into my in-laws new house and looked at the session, after my baby was born in January 2002, one year after my session, that I realized what had happened. When I viewed that same sketch as if I was looking down on top of a blue print of a house, instead of facing it, something amazing occurred. The schematic of the house that my child was born in, my in-laws' house, exactly matched my sketch, right down to the long hallway (which I had previously assumed was an elevator shaft) that ran the length of the house, and the exact room count, including their respective sizes and locations to one another. It was a startling revelation.
And by the way, the exploration of my other aspect, the motion aspect (which in retrospect I see was the actual coming of my daughter into this world) including some magical data: vast, from above, spiraling, unnamable, in and out of time, God, like a black hole, and intangibles of everywhere, yesterday, today, and matter. Curiously, there was a sound that I described as "Jung, Jung, Jung." I believe now that it was my way of describing the pumping of blood, but I find humor in the Jung reference in light of the theory of a collective and TRV. My Aesthetic Impact was reverent, which by the way was how I was feeling as I was giving birth.
This was another one of those sessions where I did not see the remarkable similarities with my situation until after I was holding my new baby girl in my arms and remembered that I had done the session a year before I knew that I was going to have another child. Before I knew where I was going to be living. And yet it was all there in the session. All of the information about that part of my future tucked away in a file cabinet just waiting for me to remember. And when I did, I pulled it out and while in the present, looked at a session done in the past, on the future, which had just occurred.
It reminded me again, that this remarkable mind technology called Technical Remote Viewing truly is the mechanism for man's first time machine.
