Beddgelert is a little village in North Wales, and as legend has it, received its name in honor of Prince Llywelyn faithful hound Gelert.
The story is told that Prince Llywelyn typically went hunting with Gelert. Some accounts are that he left the hound at home to guard his son. Another is that he took the dog with him, and the dog went missing during the hunt. The Prince knew that Gelert would never leave his side, and if he did, the only place that he would go was home. The Prince cancelled the hunt and headed for home.
Whichever version is correct, the end result was the same. The Prince returned home to find a happy, but blood covered dog. The cot was overturned and his son was nowhere in sight. Thinking his faithful hound had killed his son, Prince Llywelyn immediately raised his sword and ran the dog through.
The dog's cry was matched with a child's. Searching, the Prince found his son, but beside him was the body of a huge wolf ... covered in blood. His faithful hound had saved his son. Prince Llywelyn buried his hound and it was said that he never smiled again.
I thought this would be a good session to demonstrate how the interest of a remote viewer might be pulled to the most exciting place in time... to them. I am a very big dog lover, and would have been more interested in the event than the aftermath. The subconscious doesn't care, it will move five minutes or five hundred years. Learning how to stay steady in time and space is only one aspect of training the two minds to cooperate and bring back the sensory impressions / information that was requested. This is also a good session to show the associations of "known's" that suggest to the viewer that the target is reminding the subconscious of something similar that it can use to identify what it sees.
My session includes the close-up feedback photo, but I have included a link to a larger one so that you might see the surrounding terrain. I have given you the storyline so you might better see how the sensory perceptions that I wrote down might match the feedback. I was a basic level student when I worked this target, so it only shows Phases I through Phase 3.
My "frontloading," meaning what I was supposed to focus on was:
The target is a location and an associated event. Describe the target.
In Phase One (Pl) you will see me cuing myself with coordinates, and having early, simple ideograms, meaning they take off while I am still taking my coordinates. I needed to get enough gestalts to satisfy what I thought I needed to describe the location and the event. I took my coordinates a total of six times, including land once, energy twice and organic / biological three times.
On page two I was in the middle of describing the "organic" and asked "What are you?" Then I had to set the question aside. My job as a viewer is to describe, not identify. My friend Kate lived in Colorado, and is a dog trainer. My subconscious kept associating this target with a frame of reference that I knew. It kept trying to tell me that what I was seeing had to do with dogs, but that isn't my job. Describe, don't identify.
Also, just because I kept setting these things aside as potential imaginatory problems, which can wreck a remote viewing session doesn't mean they aren't actually at the site. If they are there, they will keep coming back. An experienced viewer will recognize that and start going for the kernels of information one perception at a time.
I also had numerous perceptions that reminded me of frontier-like scenes, cabins and plowed fields and bearded males that I had to keep setting aside.
In Phase Two (P2), I start working each gestalt for sensory perceptions. Sometimes information comes in so fast that a viewer can't keep up.
Penmanship and spelling frequently go out the window. Sometimes there just isn't a word that "works" and the viewer will resort to a quick sketch.
As a basic viewer I try to describe the round clearing where the gravesite is, seemingly nestled at the foot of mountains. I describe the land as flat, green, bumpy, moist, hilly, rolly, (roll-ey), roundy, circly, edjy, fresh, loamy, sunny, outdoors, warm, snowy white, bright, blue, dark, brown. I am getting dimensionals and "outdoors" and "plowed field." Inexperienced, I am probably missing my aesthetic impact, or AI. I should be recognizing that I have established a spatial relationship to the target and my emotional response to it. I should be moving into Phase Three and starting to sketch.
The first "energy" that I describe is quick, steep, sharp feel, brisk, cold, cutting, windy, wintery, frosty. I am an Empath, and my personality type is INFJ. I will primarily assess everything through intuition and emotion first. An analyst would know me well enough to factor these possibilities into my sessionwork.
When I probed the ideogram in Pl for this "energy" it felt "quick" to me. As I gain more experience and learn to know myself, for the sake of my analyst I would write in my session and explain that "wintery and frosty" might mean cold-feeling emotionally. Some would say that these perceptions all fit a brisk, bracing, frosty mountain morning, and I set aside that it feels really cold and snowy. Knowing myself and looking at the feedback, I might have just described the downward stroke of the sword that killed Gelert. Phase 4, not shown in this session has a table of columns that would help define just which of these examples was what the viewer was actually trying to describe.
Continuing in P2, I cue with the first biological and describe it as "big, soft, warm, tall, moist, breathy, red, black, checkery, plaidy, wooley, hairy, brown, rubbery, black, metallic, smooth, shiny, brassy, rectangly, ribby-rough, peachy, smiley, happy, crunchy." As an inexperienced viewer, I set aside "Grizzly Adams, boots, guy waving open palm, cabin, beard, guy outside in winter." I may have just nailed the description of Prince Llywelyn coming home.
I cue myself with the small organic and start getting perceptions. "Furry, lovey, happy, wiggly, waggy, dark." I note that I have my fingers in my own hair and set aside perceptions of "pet, mush dog, Alaska, Eskimo, wants to leave, happy. Next I get "puzzled, looking up, panty breathy, soft, silky."
So even though I have missed my AI, I begin to sketch. Total length of session, twenty-two minutes and I end after the P3 sketch without working all of the gestalts. When we consider that of all the locations and events in the world that could have been remote viewed, the session shows several perceptions that would be considered "hits." The sketch shows something grill-like in a round, flat area of land surrounded by mountains, which would seem to be at the time of the feedback photo. A boy, dressed in what appears to be coldweather clothing is facing the viewer, with a hand uplifted. He appears male and does not seem to resemble the small statue inside the graveside memorial enclosure.
The perceptions would indicate that activity with biologicals (humans) and dogs were viewed. There were none noted in the feedback photo except for the known, the photographer himself. Given the viewer's penchant for dogs, an analyst might conclude that the viewer had slipped in time and viewed the history of the site instead of viewing at the time of the feedback photo.
This was a good training target. This session was very basic, with many sensories to build from. Compared to this session, a more experienced viewer would have kept giving move commands and cueing themselves, pulling more detailed, specific information in Phases 4 and 6.
My entire controlled remote viewing session, including ideograms, gestalts and perceptions can be viewed here. You can find more information about Prince Llywelyn and Gelert by searching the internet yourself, and a good feedback image of the memorial site and the surrounding countryside here.
Enjoy,
Teresa
I Gelert's Grave, Beddgelert photo. Shaun Greenfield Photos. Pbase.com. 25 Feb. 2009.
<http://www.pbase.com/csg_sag/image/63725371> |
