Session 2208


“Fear in the Shift”
“Allowance for Inner Expressions in Painting”
“Dream Imagery and Being Dispersed”

Sunday, February 25, 2007 (Private/Phone)

Participants: Mary (Michael) and Eric (Yuki)

ELIAS: Good afternoon!

ERIC: Good afternoon! And how are you?

ELIAS: As always, and yourself?

ERIC: It’s very nice to speak to you after all this time, so first I want to thank you for your dedication, patience and support.

ELIAS: You are very welcome.

ERIC: I’d like to have some confirmations and discuss some topics, but first I’ve got a question. Who’s been playing with Mary’s electronic devices?

ELIAS: Ah! I would express that it is a combination of energies. And what is your impression?

ERIC: I guess it’s a combination of Mary’s energy and my energy.

ELIAS: And a little of my own.

ERIC: It seems there is some trouble with the phone. Can you hear me?

ELIAS: (Pause) You are generating interference with your equipment.

ERIC: (Pause) I didn’t hear your answer.

ELIAS: My response is that it is a combination of energies of yourself, of Michael and of myself.

ERIC: I guess I’ll read that in the transcript. So perhaps we can start with the questions, like what essence name would you give me?

ELIAS: Essence name, Yuki, Y-U-K-I (YOO kee). (Pause) Shall I engage Michael to assist you?

ERIC: Yes, perhaps.

ELIAS: Very well.

(Session is interrupted; Mary returns and they resolve the telephone issue.)

ELIAS: Continuing.

ERIC: So, can you please repeat the essence name?

ELIAS: Yes. Essence name, Yuki, Y-U-K-I.

ERIC: Thank you. The name that I got from this dream and the picture that I painted, can you explain a little more about it? I feel it’s partly me, partly my essence, but not entirely. Do you have any more to comment about it?

ELIAS: This would be another focus.

ERIC: And this would be an other-dimensional focus?

ELIAS: Yes.

ERIC: Is there any link with that particular color that kept appearing recently? It’s like cyan or teal.

ELIAS: In relation to you, yes. This would be what you would term to be an essence color.

ERIC: What would be the color, as you assess it?

ELIAS: Teal.

ERIC: Can you give me my family belonging and aligning?

ELIAS: And what is your impression?

ERIC: My impression for belonging is Sumafi…

ELIAS: Correct.

ERIC: …and for alignment, I’ve got some confusion. I feel lighter and better to be aligned with Sumari instead of Gramada.

ELIAS: Yes, you are correct.

ERIC: About the family belonging, I really resonated with the fear intent you’ve discussed before. I had these two dreams very powerful related to it, so I would like you to explain a bit more on the role of fear in the Shift. In my understanding, there are groups that hold heavily to the teaching part, but then the Shift is also about people getting to understand better that they are their own best teachers. That’s why I feel that as we get closer to the Shift and before the beginning, a better understanding of the fear is important for me. Would you like to expand a bit?

ELIAS: You are correct in your assessment in relation to teaching and in relation to being your own teacher, in a manner of speaking.

In this also, fear in relation to this Shift can be expressed in relation to new and unfamiliar experiences and some unknown experiences. There are elements within your reality that are changing rapidly, and each of you, in widening your awareness, is changing quite swiftly also. In this changing in shifting, your perceptions change. When your perception changes, it creates changes in your reality, for your perception creates your reality. Therefore, what may have appeared normal previously may seem different as you continue widening, and in that, you may present to yourself different types of experiences that might appear to be quite unusual.

One type of unusual experience would be to be presenting yourself with other focuses that you can connect to quite vividly and quite realistically but that do not fit in your reality, and therefore, that can potentially create an element of fear, for you are presenting an unknown to yourself.

There can also be certain expressions of fear that can occur in relation with changes within the individual, for you may be developing qualities that you incorporate that have been dormant, so to speak, previously, and therefore, they also are unknown. In that, new expressions may seem peculiar, and that may be somewhat overwhelming.

For in generating significant changes, you can begin to, in your terms, feel somewhat not like yourself. In that, what occurs is the identity can potentially become threatened, and when your identity becomes threatened, that can create an overwhelmingness, and it can create an element of fear. For, you each hold to your individual identities very strongly. In actuality, your identity is one of the strongest expressions that you incorporate within your reality. Therefore, if it becomes threatened, it can create considerable upheaval within the individual, and there are many different manners in which identity can become threatened as you widen your awareness.

Now; if you are offering yourself information and genuinely paying attention, that will lessen that threat and allow you much less of a potential to incorporate fear. But in this, it is important to reassure yourself that regardless of what experiences you may incorporate or what you may explore or what you may present to yourself, you remain you, and that will not disappear. It may be defocused temporarily; temporarily, it can be defocused somewhat, dependent upon what you are exploring and how fully you allow yourself to explore different areas. But you will return to your individual identity, for it is quite imprinted in your manifestation in this reality.

What is your concern in relation to fear in regards to widening your awareness?

ERIC: In that line, do I hold a Dream Walker aspect?

ELIAS: Yes.

ERIC: About the orientation, my guess is that I am intermediate.

ELIAS: Yes, you are correct.

ERIC: I think linked to that orientation is the fact that it has brought to myself a lot of understanding on how I do create and conceive my reality. Do you have any comment on how to enhance what I’m doing with dream logging or with my art, on how to alleviate some of the frustration I can get from the feeling of butting against objectivity, that I can’t create a faithful display of what’s inside?

ELIAS: In what capacity? Offer an example.

ERIC: As an example, for the last paintings that I’m doing, I feel quite limited by the objective material I incorporate. But I feel that it is not only because of the objective material, it’s more because perhaps I do not allow myself enough time or whatever. I feel that what I do is doing disservice to what I feel inside of me, because it’s not really great enough or faithful enough.

ELIAS: Are you familiar with the philosophy of the Surrealists?

ERIC: Oh, yes.

ELIAS: Do you understand what those individuals were attempting to physically do?

ERIC: Like transcending the material world with their art,

ELIAS: Yes. And how were they to accomplish that?

ERIC: Perhaps deconstructing some patterns that we hold or some ways of seeing things,

ELIAS: In a manner of speaking. Let me explain, for this may be a method in which you can more effectively connect what you express outwardly in your creativity and what you are expressing inwardly in a knowing. What is engaged is a movement beyond the automatic.

Now; what is meant in this is when you incorporate a term, a word, you automatically generate an image that correlates with that word – but you also do the same in reverse. When you present an image to yourself, you will automatically attach a word to it to identify it, and when you attach the word to the image, the image changes to fit the word. Therefore, the attempt to move beyond the automatic association was the philosophy of these individuals which created that movement, so to speak.

Now; it was not fully accomplished in its own time framework, but it was a beginning, in which there was an allowance to translate images that appear to be distorted for they do not match the word that would naturally be associated with the image. But in actuality, they were less of a distortion of the actual images that were being connected to; they were only a distortion in relation to words that would connect with the images. But without words, they were not as much of a distortion as they appear to be.

Their distortion in the actual imagery appeared when the image began to resemble a known image too much, such as an image of a creature. When the image began to appear too much as a known creature, such as a horse or an elephant or a hippopotamus, when that image bore too much resemblance to an actual form within your reality, that was the element of the distortion. In the images that appeared less associated with an actual form within your reality, it was less distorted.

Now; to generate this type of allowance for inner expressions to be translated into forms within your creativity, it is necessary to disassociate yourself temporarily with the automatic transformation and connection with what is know within your reality. Therefore, it is a matter of defocusing yourself somewhat, allowing yourself to visualize what you are experiencing and what you are inwardly generating and connecting to without attaching it to a known manifestation within your reality.

This can be tricky, for one of the most commonly engaged mechanisms that all of you incorporate within your physical reality is thought, and thought incorporates the function of translating, and it is very efficient at performing its function. Therefore, any new information that you present to yourself is immediately generated or connected to the mechanism of thought for it to translate.

In this process, what becomes tricky is holding your attention within the imagery and not engaging the thought mechanism, for the point is that you do not actually want to translate what you are presenting. Therefore, it is a matter of bypassing the thought mechanism, which can be challenging, for it automatically, in your terms, moves to the on position whenever you offer new information, for that is its function. Therefore, it can be challenging to move the thought mechanism into the off position and bypass it to allow the images without distorting. Are you understanding thus far?

ERIC: Yes, very much.

ELIAS: This may be accomplished in practicing visualization without thinking.

Now; I may also offer a suggestion, for disengaging the thought mechanism, as I have expressed, can be challenging and for many individuals almost requires a certain element of discipline to override the automaticness of the thought mechanism. But if you distract the thought mechanism by offering it information to translate and also incorporating another action simultaneously, that may be an avenue in which you can practice generating two actions at once – in which you can engage or allow the thought mechanism to be distracted by incorporating some other stimuli, such as music or different sound combinations, that will engage an outer sense and will be offering input that the thought mechanism can translate and that can be distracting from the second action that you incorporate in allowing yourself to engage a visualization.

Now; that may be challenging also, but it would be a manner in which you can distract the thought mechanism, offer it input and allow yourself to engage a visualization simultaneously without translating what you are generating in imagery. The other method that you can incorporate would be to practice with deep relaxation and engaging visualization without thinking.

Now; you can actually generate a deep relaxation and occupy the thought mechanism with sensations, such as an example, if you engage a relaxation within water, such as a tub, you allow the thought mechanism to concentrate upon the translation of the sensation, the physical sensations that are occurring and the relaxation that is occurring. Therefore, it is distracted from imagery. In that, as you relax more and the thought mechanism is preoccupied with sensation physically, that can allow you to engage visualizing without distorting.

Now; the trickiness of these actions is not as much in the visualizations as it is transferring the visualization into a picture. For while you are engaging the picture, you must also stop the thought mechanism. For as you are engaging the painting, your thought mechanism will automatically attempt to translate what you are painting, and as it translates, your hand will change the image, for your eye will change the image.

But I will express to you my friend, you can accomplish. It is merely a matter of practice and genuinely listening and creating that flexibility of attention in which your attention is not focused upon thought, but it is focused upon image.

ERIC: Just two things with the classifications: I’d like to know if I’m political focus.

ELIAS: Yes.

ERIC: And final focus?

ELIAS: Yes.

ERIC: I had also a question about this whole essence genealogy. I got the impression that I am fragmented from three essences.

ELIAS: Correct.

ERIC: Could you offer me an identification of these essences?

ELIAS: Fragmentation of one essence, Rashine, R-A-S-H-I-N-E (ra SHEEN), one Patel and one Li.

ERIC: I had also some questions about dream exploration or dream mission. I’ve kept a dream journal for quite a few years, and it has brought to me endless wonderments. Often I can correlate what occurs in the dream world with my current experiences, but most of the time I don’t really know what I’m doing except that I’m exploring or expanding, which at times can become frustrating because I don’t know where it fits. Could you tell me about the wider significance of connecting the dots of all this activity?

ELIAS: First of all, let me express to you that dreams can be very diverse, for they are the objective translation of subjective activity. In that, they can be connected with other dimensions, they can be connected with other areas of consciousness, they can be connected with what you are doing within your waking time framework, they can be connected with other focuses in this physical reality, or they can be partial experiences of other focuses. They can also be connected with other individuals within your reality, for within that subjective state, so to speak, you connect…

ERIC: I’ve got a question somewhat tied in. I’ve got this feeling that I am a dispersed essence. Is it true, or is that I’m much observing essence, or is it another explanation?

ELIAS: Yes, you would be a dispersed essence.

ERIC: So, that would explain a lot of,

ELIAS: That would also be influencing in dream imagery, for that would be a natural connecting with other individuals. You may be pulling imagery from other individuals into your dream imagery.

ERIC: How would I better understand what part is me? I understand that everything is me ultimately, but sometimes, as for identification of focuses, it’s very difficult to see what part can be me or can be others.

ELIAS: First of all, it is a matter of energy. The more familiar you become with your own energy, the more easily you will incorporate the ability to discern what is your energy and what you may be pulling from another individual’s energy. Even within other individual focuses, you will recognize some similarity of your energy, and you will recognize some expressions of your energy which generates that connection and that knowing that these particular images are other focuses of yourself. That is merely a matter of trusting what you present to yourself.

But in relation to other energies of other individuals, that is more of a recognition of the difference of your energy and other individuals’ energies. For, you all incorporate different unique qualities of energies that only you possess. Therefore, there are distinctions between other individual’s energies or other essence’s energies, and if you are paying attention, you can feel that in those differences.

I may also express to you, in reviewing your dream imagery, as you catalogue it, you can also expand your investigation of what it may be associated with, for it may be associated at times with other individuals within your community. Therefore, if you are allowing yourself to explore what is occurring within your community, you may be, in your terms, connecting those dots more effectively.

There are many different communities that you engage with, not merely your physical environmental community, but with other types of communities, such as the communities that you interact with in relation to your computer or your environmental – not necessarily other individuals – but your environmental community and what you interact with in relation to that. Therefore, as you allow yourself to explore what you interact with, you may begin to view patterns of what occurs within your dream imagery.

Those dream imageries that appear to you to be somewhat bizarre are generally associated with other-dimensional experiences and other-dimensional focuses that you are translating into imagery that you can more understand within your reality. Although it may appear to be quite fragmented, the images that you present to yourself are more understandable than what may actually be as a presentment within another dimension. This allows you to fit the imagery of what you are connecting to into your reality, for generally speaking, it does not fit, and therefore, you translate it in a manner in which it will fit.

ERIC: About these dreams, sometimes I get a kind of voice that whispers, especially in the morning. What I get mostly from this voice sounds like names, and there is an understanding of a deeper meaning. Is it a communication from my essence or other essences?

ELIAS: This would be a communication from your essence, and many of these would be associated with other focuses.

Individuals present other focuses to themselves in many different manners. Some individuals generate visuals; some individuals generate impressions; some individuals hear sounds; some individuals generate smells; some present names. There are many different manners in which you can connect with other focuses that you incorporate. It is more a matter of allowing yourself not merely to pay attention but to trust what you are presenting to yourself, and not dismiss it as imagination.

ERIC: Yes. For example, one of these names I got was like Quirizio. Is it another focus?

ELIAS: Yes.

ERIC: And is it, because this forename is pretty uncommon, I found that there was this painter in Murano bearing this name. I’d like to know if by chance it could be him.

ELIAS: Yes, you are correct.

ERIC: Another name that I got was like Sonor, but I’m not sure about the spelling: is it an E or A at the end?

ELIAS: A.

ERIC: And this is another focus as well?

ELIAS: Yes.

ERIC: To deepen that connection with my own essence or perhaps with other ones, would you have any practical advice? Which method would be most efficient for me to translate in a more focused manner my connection, like automatic writing or other methods of channeling? Because sometimes it feels diffuse – I don’t know how to say that – scattered.

ELIAS: Yes, I am understanding. In this, I may suggest that you could begin with writing, and you can also translate what we have been discussing in relation to painting in association with these connections.

ERIC: Yes, because I found it quite difficult to trust the genuineness of such information, because it feels quite in alignment with what I think, actually. So, yes, that might be a good method.

ELIAS: And perhaps you may begin painting pictures of other individuals that you have not met but are you, and create your own mosaic of yourself. (Chuckles)

ERIC: About focuses, how many focuses would you say I have in this dimension?

ELIAS: Numbering of focuses, 988.

ERIC: Any influencing one that I can investigate most easily?

ELIAS: I would suggest that you investigate in association with Finnish royalty.

ERIC: Is there a time span?

ELIAS: Ah! This is the investigation, my friend! This is the challenge and the fun, to be engaging the game of discovery. Where is the detective in you? (Laughs)

ERIC: I’d like a confirmation about the dream I had that perhaps began the draw to the material, your material, and the one by Seth. And I would like to know if it was his energy that was present in that dream.

ELIAS: Yes.

ERIC: Just a moment, because I don’t think I have much time left now. I’ve seen that you have likened some people’s energy to an animal. Would you like to do the same for me?

ELIAS: Very well, one moment. (Pause) I would liken your energy to that of a rabbit. (Laughs with Eric)

ERIC: Some questions about essence name, family aligning and belonging of some people close to me: would you say it for my mother and father?

ELIAS: Mother, essence name Cory, C-O-R-Y. Essence name father, Rafi, R-A-F-I (RA fee). And what is your impression as to essence families?

ERIC: I’d say for my mother, not pretty sure about it, but would say Vold aligned with Tumold and soft.

ELIAS: Yes, you are correct.

ERIC: And for Father, Sumafi, Milumet and common.

ELIAS: Correct. Congratulations! (Laughs with Eric)

ERIC: For another old friend of mine, Jérémie, would you say essence name and the rest?

ELIAS: Essence name Ezdale, E-Z-D-A-L-E (EZ dale). And your impression as to essence families?

ERIC: I would say Ilda, Sumari and soft.

ELIAS: Reverse: Sumari, Ilda, and you are correct.

ERIC: I think it is about time. Perhaps just one quick question, but I fear it won’t be so quick, (Elias laughs) Perhaps could you say some words about this whole feeling that I have, to be like at a crossroads and not knowing what to do next. Do you have any comment or advice?

ELIAS: And what do you perceive to be your crossroads?

ERIC: It’s quite difficult. It’s not like I don’t have anything that I want. I’ve got a job and the freedom to travel and everything, but I don’t feel that I’m quite in alignment with my intent, like there is something lacking in what I’m doing. The objective imagery that I get is like being useless or not fitting. I linked that with the confusion that I got with the alignment, like Gramada is more aligned with the creation of structures, Sumari is lighter and bringing about some reconstruction of these structures. So I don’t know where I fit here, like should I change everything or continue and try to find a way to do that?

ELIAS: I would encourage you first of all to incorporate the actions that we have discussed, and in that, it may allow you an openness to new avenues. I would also express to you to allow yourself to be open for exploration. Not to necessarily be creating a plan, so to speak, or to be anticipating a specific direction, but allow yourself to flow and pay attention to what you genuinely enjoy. For in that, there is significant information. For in genuinely allowing yourself to pay attention to what you genuinely enjoy, this can open new avenues in which you can proceed in new creative manners. Do not lock yourself into a perception of conventionality, but allow yourself the openness to explore unconventionally and in relation to what you genuinely enjoy, for that can allow you a tremendous new expression of creativity, which may decide that crossroad between the conventional and the unconventional. (Chuckles)

ERIC: Thank you very much. I think I have a lot to digest. Thank you again. And you’re not very far, anyway,

ELIAS: Ha ha! You are very welcome, my friend. I shall be anticipating our next meeting, and I shall be awaiting the sharing of your new and exciting unconventional movement. Ha ha!

ERIC: Thank you.

ELIAS: I offer to you tremendous supportiveness and great encouragement. In genuine appreciation and lovingness to you, my friend, au revoir.

ERIC: Au revoir.

Elias departs after 1 hour.