April 24, 2007

Participants: Mary (Michael) and Ken

KEN: Elias, good to talk to you! Long time no E!

ELIAS: Hahahahahaha.

KEN: So I shall, ah, I, My energy’s just all over the place today so I’m just gonna dive right in and we’ll see what happens. Okay?

ELIAS: Haha, very well.

KEN: Oh okay, ah okay. So anyway ah, the last time we talked it was ah, I was curious about a past focus in which I was a court jester and I was executed for getting a little too carried away with my humor. And ah, so anyway I asked you for ah, an investigative direction so to speak and ah, you told me ancient Rome which really surprised me ’cause that’s, I had ya know I kept thinking of like, Old English courts and whatnot and Rome didn’t even occur to me. So anyway, on my investigation I started looking way back into the history all the way back to the Caesars and I got a very very strong impression that I met my death as ah, a court jester at the time, or actually under the, in the, court, so to speak, er, of ah, Domitian Caesar.

ELIAS: Correct.

KEN: Awesome, cool! Okay I mean I ah, I felt so strongly about this that I actually ah, ’cause I collect artifacts and whatnot, an’ I purchased an ancient coin ah, an ancient bronze coin from 85 A.D. depicting ah, [Domitian] I’ll get a little more detailed with it and this is my impression that ah, I believe that ah, he had me executed for making fun of his baldness which he was very sensitive about and that, he got, you know, he was very extreme in his methods of cruelty and you know, killing people when he was mad and ah, he had my head shaved and either choked me to death with my own hair or strangled me with my own hair.

ELIAS: Correct.

KEN: Got it! Awesome. Ye-ah, not a, not a pleasant thing to think about but heh, it was, it was definitely a strong impression. Okay, okay well, I guess that proves a point. My mother always said, it’s ah; running with Caesars can be dangerous!

ELIAS: Hahahaha.

KEN: Hehhaha. Ah you know, a little of my silly humor there, anyway hehe, okay okay, um, okay covers that, ah, let’s see where I’m at now. I’ve got my little scattered papers here. Okay ah, actually it’s very interesting ’cause a couple of days ago I read a session from a couple of years ago that just ah, came up on the Internet, and it was very fascinating, was ah, the subject had to do with ah, future focuses who are ah, contact er, contacting ah, people in this present time period ah, and then they are aware that we are becoming aware of future, ah, you know, in a way that, you know it wouldn’t be taking place in the past you know if say, I’m contacting a past focus so to speak from my standpoint. They wouldn’t be aware of such a thing generally. But now with the Shift going on and we’re aware of it, ya know there are actually people that would desire to contact us and that sort of thing. So anyway ah, ah what I was wondering ah, I assume there are specific ah, focuses in what I would term to be a future from this standpoint, maybe having to do with the Alterversity, the City of the future etcetera, that would be making an actual concentrated endeavor to contact me with the premise that I would be aware of this contact or, so, or have a propensity for discovering the contact. And I think we’ve covered that before with like, a future focus of myself playing games with me by inserting artifacts that I would find in you know, as part of the game. So I was wondering if there are other like, I would say, like historians, historians of the future that are aware of me and that are ah, in a process of contacting me, that are not other focuses of me but just maybe like historians?

ELIAS: Yes.

KEN: Okay, okay. Okay that’s what I thought. Ah now I’d like to ask you once again, you know, without revealing, you know, givin’ away the game, revealing everything you know, ’COURSE I’D LOVE TO HAVE IT REVEALED TO ME!!! but I know, haha, I’m not gonna learn anything without a, you know, but, anyway an investigative direction towards ah, signals to look for, you know, or that sort of thing. I know it has to do with impressions and, you know, and that sort of thing but if you could like point me in a direction of like, you know, ah, yeah anything that would relate to, you know, something that I, you know, should take note of so to speak. And not so much as telling me what the signal will be from a future focus but, or if, you know, future person, contacts me but just ah, you know, you know, an investigative direction so to speak.

ELIAS: Pay attention to fluctuations.

KEN: Fluctuations, okay.

ELIAS: Things somewhat unusual or out of place..

KEN: Okay! Okay, great! Ah, okay, yep.

ELIAS: ..that you can begin to notice when there is a different energy present..

KEN: Okay, okay.

ELIAS: .. such as you are now aware that some future focuses are interactive by placing objects in your reality you find..

KEN: Yes.

ELIAS: ..you may begin noticing fluctuations or oddities or expressions that appear to be somewhat out of place..

KEN: M,hm.

ELIAS: ..even within your environment so to speak.

KEN: Okay! Okay. That could be, I’ll give some examples.That could be like ah, maybe unusual behavior in my pet is a possibility?

ELIAS: Yes.

KEN: ’Cause actually last night, and I relate this to you, last night ah, my pet cat Moose was, and you know, and he has ah, these cat behaviors that you’re, what I call typical but last night he kept roaming around my bedroom and looking in places that he usually doesn’t seem to look and looking up and ah, was that your presence?

ELIAS: Yes.

KEN: Ok I thought so. In fact, interestingly enough I almost feel like even though, you know, presently this session is taking place I feel like yesterday basically everything in the, you know, of course in simultaneous time it IS that, but, that the session, almost everything took place already like we have gone through this session and we are now making it physical.

ELIAS: Yes.

KEN: Okay, okay and ah..

ELIAS: Ah..

KEN: Great, great..

ELIAS: ..but..

KEN: Yes..

ELIAS: ..that there are other fluctuations that may seem somewhat subtle but are present and that you WILL notice.

KEN: Okay, Okay, are you [referring to] temperature variations or just feelings or things that don’t look right or looking at somethin’ and something just doesn’t , ya know like I, one thing I keep noticing is like I’ll see ah, out of the corner of my eye type of thing in my peripheral vision, so close to the presence of a swiftly moving person of some kind, that by the time I become aware of it it’s gone, but I knew something was there.

ELIAS: Yes.

KEN: ’Cause I assume just like it ah, you know, a lifting of the veils sort of thing or expansion of my, you know, noticing what, that there’s more going on than, you know, okay..

ELIAS: Yes.

KEN: ..okay.

ELIAS: And..

KEN: Oh yes, ah, I’d also like to ask you ah, yes, I’m trying to diverge and usually I have these set, little like a script and I ask questions an’ I have my little script here but I’m actually kinda jumping around with it too, an’ tryin’ to be a little more loose with it. But anyway, a couple of days ago I was out at my niece’s, the place where I find some of the ah, City artifacts and I ah, unearthed a little tiny glass object and my assumption is that is another ah, City object, right?

ELIAS: Yes.

KEN: Ok, ah, now, a question related to that is ah, okay so ah, we’ve, you’ve confirmed before that ah, these are artifacts, they’re in the future, they’re pla[ced], you know, spea[king] you know of course [of] our linear time standpoint you know, and ah, these objects are sent from the future to the past so to speak and then I find them in my present. But I was wondering, I was like even kinda doing a little, tracement, ha, tracement of origin, so to speak, and ah, wondering if these are objects that I find in my present, therefore I find these objects and they are, they become my possessions, my little treasures. Because I am a, I assume that I am a known person, I ah, hope to say well known, you know, in the future that people actually know, maybe even a subject of courses taught at the univ, eh, the Alterversity heh, probably ah, that somebody who is aware of me in the future, you know, ah, th, let’s say things that ah, are my belongings would be historic artifacts from the standpoint of the future, and that something I find now, it’s taken, you know, it finds its way to the future just through the course of time and then those objects are sent back and then it becomes full circle with me finding them again. Does that make sense?

ELIAS: Yes.

KEN: Okay, okay heh, it’s funny ’cause I can, like I’m, I’m trying to articulate this, it’s hard, ah, I have a grasp of it intuitively but articulating it is a, is a bit difficult but ah, you know my energy, you know what I’m talkin’ about. Okay, cool. Alright ah, let’s see, I’m gonna look over my notes here, okay I’ve covered that ah. Okay, here’s a, this has to do with a bit of a game, lately, this also concerns ah, my dear friends Archer and Iona, and Archer in a recent, recent session, he’s been conversing with you and talking about percentages and let’s say for example he talks about the percentage in which he has Shifted and we have discussed this and we are both well aware that of course this would ah, be something that would fluctuate, it’s not something, you know, etched in stone an’ you know and depending on ah, you know we have to take into mind ah, you know it’s, it’s not, you know like, okay let’s say for example, you know, you say, somebody it’s their, you know, they’ve completed their personal shifting fifty percent, you know, and ah, knowing that that could change, it could be less or more and can fluctuate. So I’ve ah, I ah, remi[nd], I’ve created this little and it’s based on ah, this line of questioning using percentages, but it is based on the concept of a, ah, what is called a recording thermometer, which is a thermometer that you like leave outside and like overnight on a cold night an’ it’ll the, the lowest the temperature got, or the highest the temperature got during the day... sorry... still there?

ELIAS: Yes.

KEN: Oh, I’m sorry, ah, okay so I’m thinking in terms of a recording thermometer ah, percentage, so I’m gonna ask the question, ah, related to ah, my Shifting and, what would you say was, like if you were, you were, if this was, a recording thermometer so to speak as, as opposed ah, as opposed to ah, I mean as a, in relation to percentages. What would be the most ah, numerically highest amount that I have Shifted in my, in this focus? Knowing that that could also [be] you know, like higher or lower at another time. What would you say percentage wise? My impression is approximately thirty to forty percent.

ELIAS: I would express to you that it would be more approximating at about fiftyfive.

KEN: Oh, awesome! Okay. And that also is something that, depending on how I choose to insert this, that could fluctuate and I could, you know, gain or lose, even though I know those are loaded expressions to use, but, you know, depending on how I, you know, always inserting it in the now. Okay, I will ah, actually it’s interesting because I was thinking of that percentage thing, and, ah, seeing that this is a game of course, I’ve decided to call this line of questioning, heh, ah, Observed Percentage Accomplishment Numbers, which makes a really interesting hehe, acronym: O. P. A. N., haha. Of course the acronym being inspired by Archer who uses this line of questioning. Ah, and ah, so using this from another standpoint ah, two years ago, ah, I had my first session with you and we were discussing, ah, artists and the way that, ah, you know, a person ah, breathes life into their work and inserts their own, you know, being and personality so to speak, their Essence into their work. And, which would of course indicate, you know, that someone would perceicve this as a master artist. but, it can be blocked, you can have all those qualities in your work, and I assume I have these qualities, you know, I’m pretty sure of it, but ah, I also am aware that I have done, probably quite a bit of blocking of this, from let’s just say the general public, you know, or those I’d like to reach or have, you know, receive my work so to speak in that manner. And, so I would I would like to know that, you know, and I know that sometimes depending on what my mood is I feel like I’m not reaching people with my art and I know I’m creating that. Other times I feel like I’m really connected with people, an’ I’m talking about when I say people just meaning the world, the general public, my environment. Ah, what percentage would, I would say that, ah probably at some level I’ve probably reached close, at certain time periods, close to one hundred percent, ah, being able to unblock, you know, where there’s a pure flow of the energy that’s with[in] my art to be perceived by somebody that sees it. And I know at other times it’s probably quite the opposite, to where I’m blocking it so much that people won’t get it because I’m doing my blocking. But have it, at some point have I achieved, even if momentarily, that ah, close to one hundred percent?

ELIAS: Yes, [Ken’s note: Elias said two other words that I missed because I talked over him.]

KEN: Okay, cool. Ah, as a, as a ballpark figure, though, let’s just say if it’s just a like, generally though I would sa[y], I would say based on my ah, self evaluation lately that I probably am around the fifty percent point of that more often than not, you know, where I’m ’bout, you know, half, ah, you know, accomplishing that and other times not, you know, I’d say about, you know, right at that little teetering, you know, ah, almost I hate to use that term but, black and white, you know like, sometimes I am, sometimes I’m not. About fifty percent?

ELIAS: I would agree.

KEN: Okay, okay cool. Um, also an, an interesting thing ocurred to me. I was thinking in terms, and we were talking about ah, fame and notoriety, relation to art, and I was thinking how relative everything is, ah, from a perceptual standpoint because, right now, okay, in the, you know, I have an internet blog and I have two online art galleries and so many many people see my artwork ’cause I always post pictures of my artwork on these, just so people can see ’em, you know, and check ’em out, or, you know, if a gallery’s interested they can contact me or whatever, but mainly just, what I consider getting my artwork out into the world, which was inspired by ah, ah. Anyway, back to my first session when I was talking about Earl Cunningham, another focus of me, who was very inward and blocking of his own, you know, his work being perceived and I decided I wanted to go the opposite and get my work out into the world. More important than anything, just so more people could see it. So in a standpoint of notoriety, due to the internet and ah, and all the people that have seen my work, and then you think back to the time of Leonardo, probably, as far as fame goes, relatively speaking, I’m more famous than Leonardo was in his time because probably more people have seen, and you know, been exposed to my work, as far as like, notoriety goes. so in an interesting way I could say I have achieved ah, fame and notoriety, from a, from a standpoint, and ah, what would, how, how would you,ah, would you agree with that?

ELIAS: Yes, obviously. [Ken’s note: after that stream of Kensciousness I’m surprised Elias didn’t reply: ’What was the question?’]

KEN: Okay, awesome. And ah, so okay, well I’ve got the fame down so ah. LETS BRING ON THE FORTUNE THEN!

ELIAS: Hahaha.

KEN: Heh, cool! Okay, that’s my next step, yeah, paper and coins, the downfall of us all. Hahaha.

ELIAS: Ha.

KEN: I was reading, oh, the session, the ah, session in the, the group session in California. Really fabulous session. I’ve been reading it and rereading it. I enjoyed that a lot. And ah, I was thinking of a, of a humorous thing that, just hypothetically if, if you had made, If you had, and this is very hypothetically, I don’t wasn’t anybody to confuse this. If you had made the statement that ah; ’NOT generating paper and coins would be one of the easiest things for you to do in this reality,’ and probably everyone in the audience would be like; :HEAR HEAR! YES THAT’S TRUE, THAT’S TRUE! hehheh, yeh, as an indication of, you know, that we, you know, so many times we create these financial, ah, perceived financial difficulties. But really if you think of the opp, you know, the opposite of that, of how easy it is, it really, you know, it truly is really easy, but ah, sometimes the easiest things can be quite hard.

ELIAS: Hahahahaha. But, this actually is a matter of perception.

KEN: Exactly, exactly.

ELIAS: Is more real in your thinking than it is in what you are actually creating.

KEN: Understood.

ELIAS: Is more real in the thinking of lack than it actually is in what you actually do.

KEN: Umhm, umhm.

ELIAS: For individuals may express quite frequently that they do not have enough, or that they do not have enough money per se, but, they do incorporate a fine dwelling. They incorporate a vehicle. They eat. They function. They play. They do activities that they want to do which, most of which involve money.

KEN: Yes.

ELIAS: They accomplish all of those actions that involve money, therefore they must have it, or they would would not be accomplishing those actions. But they express that they do not have it.

KEN: I ta, yes, that’s very true. ’Cause how many times that, you know, well yeah, you’ll express a lack and really it is a, a, it’s a fear of lack, or it’s like the, you know, worrying about a dog barking down the street and the dog is not, I can’t remember where this came from, you or Seth, but you know, the dog’s barking down the street and you’re worrying about the dog threatening you in your present, immediate environment and it’s not taking place. You know, you’re kinda like projecting a lack that doesn’t exist.

ELIAS: Precisely, and that is the immense snare.

KEN: Exactly.

ELIAS: ..with most individuals, for the threat is actually more real in thought than it is in your actual reality.

KEN: Umhm.

ELIAS: This is the matter of perception.

KEN: Mhm.

ELIAS: Allowing yourself to change your perception and view your reality more realistically as to what is actually being generated.

KEN: Emhm. Kay, Okay that makes sense, I will most definitely ponder that. Okay, let’s see where I am at now. I ha, oh, okay, this is something that just occured to me recently, as for many many years, I mean over three decades my, what I call my day job, my regular job is ah, I work on a tour boat and ah, a tour boat and so in my daily enviornment every day that I work I see ah, Dolphins, specifically; Atlantic Bottlenose Dolphins, in the wild. And now becoming aware that Dolphins and Whales fairly recently, I can’t remember the date, but they are now officially Essence. Correct?

ELIAS: Yes.

KEN: Okay, ah, so it occured to me that all the years I’ve worked here that there’s possibly some underlying connections, I would say this is definitely subjective like ’cause I haven’t been to, ah, I’m always very pleased, in fact everybody, the people that come the, the passengers that come out and ride the tour boat love to see Dolphin. Everybody has a big thrill, everybody loves to see Dolphin. And all the years I’ve worked there I never tire of seeing Dolphin. They always make me smile. They always make me happy to see ’em out in their natural enviornment, out in the wild and the babies born each year and everything. Is there a connection, a subjective connection with me and Dolphins that is an underlying motivation for me working this job all these years?

ELIAS: Yes.

KEN: Okay, interesting! Does it have something to do with my subjective taking note of, or the event of the Dolphins becoming Essence? Or is, ’cause at the time I started this job, you know, in our physical time, ah, the Dolphins were not Essence yet now they are and this was, been an interest of mine that I’m not physically [meant to say: objectively] aware of but am becoming aware of now?

ELIAS: Yes.

KEN: Okay cool! That’s cool, that’s interesting, ah, so there is an interaction going on, interesting, ah, okay, that’s cool, that’s cool, that’s cool, I’ll definitely ponder that. Ah, okay I’ve just some little que, just little ah, curiosity questions here.

Ah, my daughter Marilyn / Macey was visiting me one day and I have many, ah, I own many Egyptian artifacts that are actual artifacts but I also have some replica artifacts. And I have a statue, a replica statue of Anubis and one night she looked up at that statue and she said, she goes; that’s how I, that’s Elias, or that’s, I see Elias there. And I asked her about that to, to clarify and basically what she was saying that, she had an impression basically that you in a past focus were an Egyptian priest and dressed, or you know, in your ceremonial dress you dressed as Anubis and that’s what she was pickin’ up on, is that correct?

ELIAS: Yes.

KEN: Cool! I’ll ah, she’ll get a kick out of that, I’ll tell her that. she picked up on that. That’s so neat, that was one it was interestin’, she just looked up at that statue one night and said: ’That’s Elias right there. An..

ELIAS: I would also express to you a further identification, that she also was recognizing the presence of my energy in that statue.

KEN: Oh! Okay. And another interesting thing too is just ah, I have a little display box, it almost looks like they go together, but the statue is sitting on top of this display box and underneath the [I meant to say: ’in the’] display box is my brick from the City, the first City object that I found, which of course can be a focal point. So ah, was there something to do with that energy taking place too?

ELIAS: Yes.

KEN: Okay. Neat, neat. Okay, very cool, very cool. Okay, an’ I have a curiosity question here ah, this is based on my impression. I’m talkin’ about another focus of me which is the ah, Austrian artist ah, Egon Schiele. Ah, I would like to know, okay, he had a lo, a very beloved mistress ladyfriend named, her name was: Walli, W-A-L-L-I, and I was curious if Michelle ah, Essence name: Evealyn, was Walli?

ELIAS: Yes.

KEN: Okay, an’ ah, Egon Schiele’s ah, married wife was named Edith and I am curious, ah, an’ she died, you know, in the Flu, well of course me in, ah, myself as Schiele, her, Edith and also ah, ah, Gustav Klimpt, you know, the ar[tist] all died in that Flu epidemec at that time, and she was preg, died, she was pregnant at the time and she passed away, died, or, disengaged before I did but we all died fairly close toge[ther.] Was Dale / Jene Edith?

ELIAS: Yes.

KEN: Okay, cool. That’s what I thought. I thought that I was pretty sure that either, you know, it was, those were the specific ones or it would be the reverse of those, but, ah, okay, okay, got that. Okay, cool. Ah, I have some questions, ah, couple of questions that ah, were passed on to me by, ah, Iona and Archer, they asked if I’d ask for friends and I’m quite happy to do so. Ah, there’s a man named Steve Lord, ah I forget his Essence name right now but, ah, you know who I’m talkin’ about, he was at the ah, group session, ah. Iona wanted to know if John Duncan is a focus of Steve Lord.

ELIAS: Observing.

KEN: Observing, okay. And then Elena, Essence name: Deena [I comment on her name’s proper pronunciation] has a focus, ah, want’s to know, Iona want’s to know if ah, Elena has a focus as Therese Malfatti, I don’t know if I’m pronouncing this correct, who is the love interest of your focus of Beethoven, was, is that correct?

ELIAS: That would also be observing.

KEN: Observing, okay. And ah, is that particular, ah, Thera.., Therese ah, Malfatti the person that you as Beethoven wrote Fur Elise for as a, you know, a dedication?

ELIAS: No.

KEN: No, okay cool. Okay and ah, Iona was curious that if an ancient either Neanderthal or Cro-Magnon time period that, Iona and Oba were a coup.., myself ya know, were a couple and that her son Rai - Essence name and my daughter Macey - Essence name were our children in that ancient, ancient time period, like cave dwellers.

ELIAS: Yes.

KEN: Okay, would we be either Neanderthal or Cro-Magnon? [I comment on Cro-Magnon’s proper pronunciation]

ELIAS: Neanderthal.

KEN: Neanderthal, okay interesting! Okay and ah, was one more, I would like to ask a couple of Essence names ah, oh, I’m gettin’ close to my time so I’m gonna, I’ll be careful, I got just a couple more things ah, Mary’s got the plumber comin’ over so I don’t wanna mess with her time frame, hahahehha. Anyway, ah, we have a friend who posts on the BlueFlash site ah, his name is Todd, his ah, posting name is Gunslinger, so I think that ah, know if that’s enough information to guide you to who I’m talking about but ah, he would like to know his Essence name, this fellow named Todd.

ELIAS: Essence name: Lars, L-A-R-S.

KEN: Excellent, thank you very much. Okay and I have two very dear friends here. They’re very interested in the Seth Material, their life is very revolving around that and ah, their names, they’re a married couple; John and Marianne and I would like to know John’s Essence name.

ELIAS: Wondirint.

KEN: Okay.

ELIAS: W-O-N-D-I-R-I-N-T. (Pronounced: won - `dear - int)

KEN: Wondi, is it, the last letter: D?

ELIAS: T.

KEN: Okay, got it. Okay, and I would like to know Marianne’s ah, Marianne’s Essence name, his wife.

ELIAS: Essence name: Connishel. C-O-N-N-I-S-H-E-L. (pronounced: con - eh - shel)

KEN: Awesome, thank you very much, I appreciate that. My impression is that both of them are Sumari / Sumafi.

ELIAS: Correct.

KEN: Okay, cool. Alright, and, ah, I’d like to ask ah, just a, my ah, final question here is ah, I think it’s my final question, haha, squeeze one more in. Anyway, ah, my friend Deborah / Oona ah, how many focuses do we share?

ELIAS: Sixtythree.

KEN: Sixtythree, okay I can see that we have ah, a close connection. And were three of those focuses, were we married?

ELIAS: More.

KEN: More, okay, ah, ten?

ELIAS: Thirteen.

KEN: Thirteen! Cool.Okay, that’s great and I have one [more question] ah. Recently, ah, ah, Oona and Daryl / Ashrah, when Daryl, before she disengaged they had a little ah, kind of an internet list ah, ah, that was just a, kind of a private, that was just between themselves, and ah, Oona recently, she posted this, where she, it was kind of an odd little glitch or something, on the website, that made her think that was a kind of a, a playful, ah, expression of contact to her from Daryl. Is this correct?

ELIAS: Yes.

KEN: Okay, she didn’t ask me to ask that. I just thought of that and wanted to ask on her behalf, I thought she would find that interesting. Okay! Let me double check everything, I think I’ve ah, I think I’ve covered everything, it’s been as always, absolutely, completely fun, I really appreciate this and ah, looking forward to talking to you soon Elias!

ELIAS: Very well my friend! And I also. And I express great appreciation to you my friend, and tremendous lovingness. To you in dear friendship and great fondness. [Elias ends there without his usual au revoir !! Hmmm, based on what we discussed earlier I have an impression that this might be one of the ’fluctuations’ he advised me to be noticing of.]

KEN: [after a pause] Au revoir.

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Copyright 2007 Mary Ennis, All Rights Reserved.