Remote Viewing My Pet
By Kimberly Snow
In May of 1999, I had been remote viewing for
several months and had acquired quite a large number of blind targets. This was a stack
of targets, both hand written targets about things I was interested in,
as well as random targets with photos gleaned from magazines. There were approximately
forty folders in all; all mixed up, sealed, and marked on the outside with only a set of eight numbers.
This is a common exercise that PSI TECH Remote Viewers do to practice Remote Viewing targets
in the blind.
I pulled one randomly from the middle of the stack, and at 9:05 PM, began the session. What I did not know at the time, was the target I had pulled: "Pacino/present location". Pacino was my black Shepherd/Keeshound/Border Collie dog, a pound puppy saved from the needle of death in the nick of time when I was seventeen years old. He was getting very old, he was almost fifteen years old by then, and I was concerned about how he was feeling, since he was showing signs of arthritis, and had lost his playmate, Lupe, our black Great Dane that he had shared his life with for almost thirteen years.
When I began the session, Pacino was outside at night. We lived on half an acre of Washington woodlands, with sweet smelling cedar and hemlock. It was a cool, clear evening, and he liked to sniff around the perimeter of the property at night, and keep the deer and raccoon at bay.
My first set of sensory data included the colors black, brown, shadowed, soft, porous, fluffy, fresh, cold and quiet. I felt the dimensions around the target site were open, big, wide, diagonal, edged, tall, and pointed. My basic gestalts were a lifeform and a peaked manmade structure. I also percieved movement at the target site. Our house was a cedar, craftsman style home with a peaked roof and a peaked garage.
The first movement (change of point of view) I did was to explore the peaked structure. At first I thought it was a hill and mountain due to the triangular shape of my sketch, but discarded them appropriately as imagination using proper TRV protocol. My emotion towards the target was familiar, and my sensory and dimensional data included green (the gutter trim was green), white (the window trim was white), rough, gritty, earthy, cool, big, wide, long, angular, massive and pointed. I then sketched a triangular structure, with two distinct right angles. Further data included tall, and sharp, steep, and scenery.
The next point of view change was to explore the lifeform. My sensory data indicated it was dim, shadowed, soft, matte, sweet/sour (my dog was old and had a distinct old dog smell, particularly when wet from dew), and cold. His dimensions were close, medium, and curved. The sketch was of a curved shape, standing on a flat line, with a kind of wiggly line coming off the rounded end. Further data included soft, sweet, slippery, close, undulating, and my emotion was pleased. The emotion of the lifeform was what struck me most in the session. I wrote, "Joy." I remember the joy was not just ordinary joy. It hit me very strongly, a kind of unconditional joy, a joy that puts one at complete harmony with the world, a joy of just 'being'.
My session was suddenly interrupted when
Pacino started barking outside. Irritated, I wrote break, noted the time,
and brought him into the garage and shut the door, so that he wouldn't be
in the house to disturb me while I finished my session.
When I resumed the session I got data which focused on the structure, but was no longer outside. The sensory data indicated brown, rough, hard, earthy, moldy, warm and quiet. All of the aspects of our garage, which was uninsulated, and always smelled earthy and moldy. The dimensions also were consistent with the garage, including big, long, flat and edged. The sketch was a basic line drawing of two right angle walls adjoining one another, and the ceiling above them. There were ideas of grade and cut.
I finished the session with one last point of view change: "From 50 feet above the target." My sensory data included yellow, beige, shadowed, rough, fresh, and quiet. I got wind, a road, far, wide, edged, outside and pointed. And then the most remarkable part, as I found out later when I saw the target, was that I drew an aerial sketch of my house, with the peaked roof, my driveway, in its correct placement to the house, and the beginning edge of my neighbor's house, again, in the correct placement next to the driveway.
My summary read, "The site is outside, there is a peaked structure at the site, the site is tall, and steep and high. At the site there is a soft, close lifeform, who is joyful. There is something coming off of the lifeform which is changing/undulating." (This was the little squiggling undulating thing coming off the lifeform's rear in my sketch--obviously in retrospect the wagging tail.) In my analysis list, I included, "a pointed formation", "an alpine scene", and "an angel."
Pacino was my angel. As a matter of fact, I always called him Angel Boy. When I looked at the target, and saw the session data on his emotions of joy, and remembered the kind of joy it was, I immediately went out to the garage, knelt down, and held him close.
I learned two very important things that night. One was in regards to moving targets. The data in the first half of the session was consistent with the outdoor terrain around my house. After I brought Pacino into the garage, the data changed, and the data in the second half of the session was consistent with the garage environment. This is one of the difficluties we have tracking the location of moving targets such as Osama Bin Laden. I feel fortunate to have learned about moving targets first hand.
The second thing I learned had less to do with TRV and more to do with the heart. Dogs are full of joy. And their joy is unconditional. And we should take care with that information, and remember it the next time we feel the need to use them as a scapegoat for our frustrations. Pacino is gone from my life now, but he was in every way a true angel to me, and I will never forget the night I was allowed to look into his heart, and see through his eyes the innocence of the world.
Editor's Note: At the time she worked this session, Kimberly was only a beginning PSI TECH remote viewing trainee.
