"Bret Colin Sheppard becomes strangely compelled to pursue research into space images of the moon. He founds the Lunar Anomaly Research Society and, along with other anomalists, peruses lunar and Mars imagery looking for structures, unnatural architecture and other types of anomalies. Then, he is confronted with an image that stirs his memory and he is seeing an image that he remembers seeing as a teenager, in a slide presentation, in 1982, in a darkened room at school in an art class. The strange time anomaly launches Bret on a quest, looking for more of this surreal, embedded imagery that is found in hundreds of space mission photography. Over time, Bret becomes convinced he is seeing what may be extraterrestrial or extradimensional (ET/ED) beings in contact with humanity by embedding imagery into space photographs using advanced holographic technique in layers of encoded light."
Digital Moon - Ebook PDF https://gumroad.com/l/Gzjdj#
BRET COLIN SHEPPARD EXTENDED BIO
Biography of Bret Colin Sheppard
Bret Colin Sheppard was born in Gary Indiana on September 17, 1966. He has been through an extraordinary amount of childhood trauma, and early ET abduction by benevolent ET’s helping him through his trauma. During his childhood he was taught esoteric knowledge from various books given to him by members of his mothers friends and cult members of various organizations. He was groomed as an artist by a beautiful Nordic woman named “INO” who worked at the time as a caricature artist for Playboy magazine. She taught him all about perception, and how to draw what he sees in nature.
Bret Colin Sheppard experienced a time anomaly where his anomaly finds from the future were shown to him in art class at his high school. Who ever did this time mission also knew that Bret has a photographic memory. Years later, he feels compelled to pursue looking for anomalies in NASA images of the moon and Mars. He is known in the anomaly community for some of his finds, the Lunar Acropolis, the "Jupiter 2 UFO on Mars" and the Lion of Cydonia. Bret is writing his book on his anomaly finds, plus what he found deconstructing the manipulation of photos from space by our space agencies. His current book is called "Flyover Tsiolkovsky Crater" about the base on the moon seen by Ken Johnston Sr, NASA Whistle blower. His new book is "Digital Moon" published in August of 2017, is about the processes of CGI and other methods used by NASA to obfuscate anomalies, plus Bret's extraordinary journey as an experiencer, shown the future at 15 years of age by an agency operative of the government. He went on to found the “Lunar Anomaly Research Society” to reveal what he has discovered in Lunar images.
FOREWORD
To Digital Moon
Nancy du Tertre
Attorney, psychic detective, and author
“Psychic Intuition: Everything You Ever Wanted to Ask But Were Afraid to Know” and “How to Talk to an Alien”
Our world, no matter our early life psychological profile, is mutable and at the mercy of our sensory perceptions as translated by our brain. Whether you believe that there is the pockmarked face of the man on the moon, obvious as day, or merely a random collection of rocks and craters scattered across the barren landscape, the fact is that our choice for reality is governed by our experience as an individual soul influenced and altered by our membership in the collective reality of the human race. We belong to a long history of humans and, most likely, intelligence in the spirit and dimensional worlds. Our perceptions are all heavily filtered. Not only are they filtered by the limitations of our five senses on the electromagnetic and chemical spectra, but they are also filtered by our choice of what we decide to experience. As I wrote in my book “Psychic Intuition: Everything You Ever Wanted to Ask But Were Afraid to Know,” we can easily expand (or contract) our actual, real sensory experiences – both voluntarily and involuntarily – by understanding the influences operating on our ability to experience what we believe is “reality.” Most of us are never aware of the intangible influences that act upon our sensory experience. We are like the old joke about fish. We can identify everything in our immediate environment except the water that is invisible yet surrounds us. These include non-human intelligence, spirits, dimensional travelers and other humans. We are born into a life as a soul with previous knowledge of our collective consciousness, and we live and breathe in this knowledge every day of our lives.
Bret Sheppard has written this highly unusual book to describe his voyage of rediscovery of the meanings of lunar photographs he believes he was deliberately shown as a young child. As an adult, he has come full circle, having found these official NASA photos, many deliberately altered or modified to suit the national policy du jour, and now has learned to trust his inner vision as a talented artist and meta-physician, to perceive the true images found in these photos. In his view, these images have been implanted or overlaid by non-human entities wishing to communicate with us. He believes this has been accomplished by means of manipulating the refraction's of the photons of light as they are captured by our cameras and telescopes. The various images he sees and sketches from these lunar photographs often contain images of mythological beings from Greek, Roman and European history, gods and strange creatures like Satyrs or the fearsome Minotaur. It is as if our collective consciousness containing our actual history and fantasies are etched in reality – hidden, yet staring at us in plain sight! Like an optical illusion, we just need to adjust our brain (not our eyes) to see them.
I learned how to “see” differently rather late in life. One of my mentors was Ingo Swann, a visionary artist, and creator, of the CIA’s psychic spy program, better known as “Controlled Remote Viewing.” I remember him telling me about remote viewing the far side of the moon and also Jupiter. He was very pleased with himself when he was able to confirm, many years later, that much of what he had “seen” during his psychic voyages was indeed accurate. On example of this was when, in 1972, NASA’s Pioneer 10 spacecraft was able to confirm one of Jupiter’s rings that Ingo had “seen” but was unknown to us at the time. I believe he was also very proud of some of the details he had brought back regarding the atmosphere and the color of the soil.
There is a tendency among many people today to misunderstand or misinterpret the psychic methods used in remote viewing. I am a remote viewer, trained in several different types of remote viewing including Controlled Remote Viewing and Associative Remote Viewing. Unlike purely intuitive, psychic or artistic methods, remote viewing is highly structured and requires strict adherence to formalized steps and procedures. Ingo created it this way deliberately so it could be turned into a kind of tool that could be analyzed and reviewed for accuracy. I have always defined remote viewing as “clairvoyance with protocols.” Since I am also a trained psychic detective, spiritual medium and medical intuitive, I also use a number of other more self-taught methods to access psychic information.
Ingo always told me that “they” (the CIA) were lucky to get him as one of their first major psychic guinea pigs because he was an artist. He understood that our rational brain is often incapable of accurately or completely “describing” what we “see” with our minds - particularly scenes or images that have no true corollary in reality. Words are effective but only up to a point. In fact, as I explain in my book “Psychic Intuition,” language is one of the biggest barriers to accessing psychic data. Non-verbal ways to communicate using such vehicles as movement, frequencies, shapes and colors (think: dance, music, art, theater) are often more effective at communicating certain realities than mere words.
Some of Bret’s most powerful and fascinating material comes from his drawings of what he “sees” in the lunar photographs. He suggests that what he sees is not mere “pareidolia” (defined in Wikipedia as “a psychological phenomenon in which the mind responds to a stimulus (an image or a sound) by perceiving a familiar pattern where none exists.”). Bret goes a bit further and suggests that what he sees is an actual communication of data. From the lunar photograph below, Bret “sees” what appear to be two satyrs, one seated, sprawled out, on what looks like a large chair or throne, and the other standing next to him, on the left, with outstretched arms. While these images are clear to me, I saw something very different.
I sketched the profile I saw (shown below):
Squint your eyes and soften your vision to see the sketched images and they will suddenly pop into sight while looking at the lunar photo. It is interesting is that my sketched profile (which looks like some kind of exotic-looking man’s head with a beard and spiky hair) resembles the smaller images of satyrs sketched by Bret. It is as if we both see different things but they are born of the same “reality” of satyrs and mythological beings.
I learned many years ago that if you put ten psychics in the same room and ask them to do a psychic reading on something, you will likely get ten different answers. Does that mean that psychics are frauds? Or, does that mean that one got it right and the other nine were wrong? The answer is no on both counts. What I have learned is that in the murky and ambiguous realm of perception and multi-layered realities, we all have an ability to “see” it from our own particular angle or perspective. Generally speaking, the ten psychics who give ten different answers will all be somewhat accurate about a limited part of the reading. No human can deliver all facts about any given slice of reality. We are all like the various facets of the same crystal.
When you do psychic work – clairvoyance, prophecy, past lives, ESP, telepathy, psychometric, divination, medium-ship, etc. – you are, in effect, allowing yourself to “see” these different facets of reality. You begin to understand, as Bret clearly does, that not only do we not share identical versions of reality, but reality itself may manifest its richness only under certain conditions. Speaking as an attorney trained in securities litigation, I was always taught to rely exclusively upon evidence in order to prove a “reality.” However, as I have navigated psychic, paranormal and extraterrestrial waters over the last few decades, I have learned that “proof” – like Bret’s artistic interpretations of the lunar surface - is really nothing but a good legal argument that appeals most strongly to the greatest number of people. Unless and until more people open their eyes and their minds, our collective understanding of reality will remain limited and impoverished. - Nancy du Tertre
ILLUSTRATIONS FROM THE BOOK:
