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Thursday, February 05, 2004

<  Session 1506 (Private/Phone)  >

ďImpulsesĒ

ďContinuing to Choose Life; Transition or Forgetfulness?Ē

ďCreation PulseĒ


Participants: Mary (Michael) and Jim (Bevan).

(Eliasí arrival time is 17 seconds.)

ELIAS: Good afternoon!

JIM: Good afternoon, Elias. Did you have fun a couple weekends ago making all our telephone bells chirp instead of ring?

ELIAS: (Laughs) The question is did YOU have fun?

JIM: Yes, I know. I did it at your behest, right?

ELIAS: (Laughing) Quite!

JIM: Was that just a call to pay attention or was there another interpretation there?

ELIAS: In actuality, it was a signal to be accomplishing precisely what it did, offering a message to be having fun. (Laughs)

JIM: What about the garage door that opened by itself? Do you want to claim responsibility for that too?

ELIAS: No. Unfortunately, I must offer that credit to my dear friend Patel.

JIM: The computer monitor that reduces brightness by half all of a sudden?

ELIAS: (Chuckles) That, my friend, was you.

JIM: At your behest?

ELIAS: No, with your own energy.

JIM: I might change the subject here. The strength of my feelings about Melody suggests that there is something different about that relationship as opposed to my relationship with other focuses of myself. Are we acting as opposite counterparts?

ELIAS: Yes.

JIM: Are our personalities complementary?

ELIAS: One moment. There is interference with the equipment.

JIM: I hear it.

ELIAS: Shall I incorporate Michaelís assistance?

JIM: All right.

ELIAS: Very well.

(Elias departs, Mary fixes the problem with the telephone, and Elias returns.)

ELIAS: Continuing.

JIM: Letís see. My question was are Melodyís and my personality complementary?

ELIAS: Yes.

JIM: I thought maybe. Why the strength of my feeling with regard to her? Why do I feel that way?

ELIAS: Clarify.

JIM: Well, I donít feel as much attraction to these other focuses as I do to Melody. I just wonder why her particularly.

ELIAS: For it is a fascination.

JIM: Oh, okay. (Elias laughs) Just that? Is she aligned Vold by any chance?

ELIAS: Yes.

JIM: I got that one right. Was she aware of the Fresno group session?

ELIAS: Not objectively.

JIM: But I did get through to her subjectively, right?

ELIAS: Energy, yes.

JIM: Therefore, she did not even consider attending. Next question, is Maria a focus of mine?

ELIAS: Yes.

JIM: Is her personality a female version of me, my personality?

ELIAS: In a manner of speaking, yes.

JIM: Her name is Maria Capola?

ELIAS: Yes.

JIM: And of course sheís aligned Gramada?

ELIAS: Yes.

JIM: Common orientation?

ELIAS: Yes, you are correct.

JIM: Thought focused?

ELIAS: Political.

JIM: Oh, thatís interesting. She lives in Italy?

ELIAS: Yes.

JIM: Near, in or near, the city of Milan?

ELIAS: Near.

JIM: So what about Dominic? Is Dominic a focus of mine?

ELIAS: Observing.

JIM: Is he a focus of Jale?

ELIAS: Yes.

JIM: I knew it was one or the other. (Elias laughs) Bevan is an observing essence, you mentioned that.

I seem to latch onto certain musical performances as feeling right to me. I suspect that feeling comes from a relationship with the composer of the music. In other words, I wonder if I approve or disapprove of a particular performance based on how the composer might feel about that performance. I suspect that in these cases, either the composer may be a focus of Bevan or Bevan may be observing essence. One of the composers I have in mind is Sergei Rachmaninoff. I think he may be a focus.

ELIAS: That is observing.

Now; let me also clarify, for in association with different compositions of music, at times you may be experiencing what you term to be certain feelings or certain associations with the composition in association with being an observing essence of the focus that composed it. But there are also other times in which you may generate a similar type of association or feeling with the composition and you are not necessarily an observing essence of that focus, but are allowing yourself to tap into the energy of that individual and allowing yourself to empathically experience the composition in the manner in which the individual that composed it experienced it.

JIM: Oh, thatís interesting! Oh, my! There was an Elias forum mention of Jules Massenetís ďMeditation from Thais,Ē and when I read that, a full-blown orchestra rendition of that music just popped into my head accompanied by a strong emotional signal.

ELIAS: Yes.

JIM: Am I observing Massenet?

ELIAS: No. This is an example of that empathic experience.

JIM: Excellent. Thatís interesting.

Next question, do I have a focus serving as a drummer boy with the Hessian troops during the Revolutionary War?

ELIAS: Yes.

JIM: And he was killed or badly injured during the Battle of Saratoga?

ELIAS: Killed.

JIM: His name is Hans Schmidt?

ELIAS: Yes.

JIM: Now, for some reason I seem to have attached my wifeís essence name to a picture of her that she gave me for Christmas. I donít usually think of her in terms of her essence name. Why do I associate her essence name with that picture?

ELIAS: That is merely a movement in widening your awareness. This is an evidence to you of widening your awareness and generating a different type of appreciation as you associate with this individual.

JIM: Very good. While I think I recognize intuitive information Ė Iím doing pretty good here this morning Ė I feel that I have difficulty with impulses. How do I recognize when a desire to take some action is a subjective prompt and when it is an ego urge? I donít really trust myself in this area.

ELIAS: An impulse is not necessarily a thought or a feeling. It may be translated into one of those expressions, but it does not necessarily always translate in that manner. It is a type of prompting that inspires an action that you do not necessarily incorporate a thought translation with or even a feeling. Although, many times there is some type of feeling associated with an impulse, but it may not necessarily be noticed, so to speak.

An example of an impulse that is accompanied at times by a feeling, a physical feeling, would be the action of consuming food. Engaging that action does not necessarily incorporate a thought translation and at times does not necessarily incorporate a feeling that you notice, but you are prompted to engage the action.

You may be prompted to engage many different types of actions in association with impulses. Those that you notice are the impulses that motivate you to incorporate an action that you do not expect or that is not necessarily automatic. In those moments, you generally notice more clearly that some action has occurred to motivate you to incorporate a particular movement without incorporating a thought.

JIM: I think thatís what happened when we came up here to buy this property we now live on. It was definitely an urge. We had no reason to suspect we were going to buy here, but it just felt right all the way through.

ELIAS: Now; many impulses are, in a manner of speaking, followed by impressions, which the impressions more clearly define the impulses. The impulse is the motivation to incorporate a particular action. Once you comply with your impulse and engage the action, you offer yourself more information through impressions, which is what you recognized as feeling right or comfortable, recognizing a comfortable energy in association with the choice to engage the action.

JIM: That certainly sounds like what happened.

I hoped to pass information concerning Bevan to Melody and I was frustrated, of course. It didnít happen. Even though Melody is me, would this have been an intrusive action?

ELIAS: No.

JIM: Because we are both really the same, right?

ELIAS: Yes, and I may express to you that your efforts are not entirely unsuccessful. For although the individual is not clearly objectively aware of YOU, the individual does incorporate dream imagery associated with you and identifies this imagery as a stranger that is incorporated within dream imagery, but not in fear.

JIM: I donít think thereís anything further I should do there. I think Iíll just let it ride.

ELIAS: (Laughs) Very well.

JIM: I feel a strong connection to Jael, spelled J-A-E-L. Is her essence name Jale?

ELIAS: No.

JIM: No? Thatís interesting. But Dominic is a focus of Jale. How did I get Jale?

ELIAS: You are incorporating a confusion, for you are confusing two different essences. You are correct that the focus is of the essence Jale, but that essence of Jale incorporates a different spelling and it is incorporating a manifestation, a focus in this time framework, also which does participate in this forum. You have merely confused two individuals.

JIM: Thatís interesting. I wonder if Iím gonna be able to unwrap that! Am I observing essence of the woman who I call Jael?

ELIAS: Yes.

JIM: Am I in some counterpoint action there?

ELIAS: Yes.

JIM: Is the supermarket supervisor that I asked about during a previous session a focus of that person, the one I call Jael?

ELIAS: That is a counterpart action.

JIM: Is the picture that I have labeled Margot a picture of a focus of Giselle?

ELIAS: Observing.

JIM: Does she live in Germany?

ELIAS: Yes.

JIM: Now Iíve got Jale on the brain here because of that mix-up, but Iím gonna ask this question anyway. I have a feeling that Bevan and Jale are cooperating in an effort directed toward eroding current social beliefs with regard to sexual matters. Is that right?

ELIAS: Yes.

JIM: Hereís a bunch of identifications for some friends of mine. Daniel T., could I have his essence name please?

ELIAS: Essence name, Neely, N-E-E-L-Y.

JIM: Does he belong to Milumet?

ELIAS: Yes.

JIM: Is he aligned Tumold?

ELIAS: Yes.

JIM: Orientation, intermediate?

ELIAS: Yes.

JIM: Is he thought focused?

ELIAS: Political.

JIM: Another political. Must be the year! (Elias laughs) Raquel is a friend. Raquel, her essence name?

ELIAS: Essence name, Jens, J-E-N-S (YENZ).

JIM: Thank you. Does she belong to Borledim?

ELIAS: Yes.

JIM: Aligned Ilda?

ELIAS: Yes.

JIM: Common orientation?

ELIAS: Correct.

JIM: Emotional focus?

ELIAS: Correct.

JIM: Could I have the number of focuses that Daniel and Raquel share?

ELIAS: Twenty-nine.

JIM: And how many focuses do Daniel and I share?

ELIAS: Nineteen.

JIM: Thank you. For Deangelo E., could I have an essence name there, please? (Pause)

ELIAS: Essence name, Archar, A-R-C-H-A-R (AR chur).

JIM: Very good. Does he belong to Sumari?

ELIAS: Yes.

JIM: Aligned Ilda?

ELIAS: Yes.

JIM: Soft orientation?

ELIAS: Yes.

JIM: Emotional focus?

ELIAS: Correct.

JIM: And how many focuses do we share, he and I?

ELIAS: Twenty-two.

JIM: Now for Christopher D., if you please, an essence name?

ELIAS: Essence name Luli, L-U-L-I (LOO lee).

JIM: Does he belong to Sumari?

ELIAS: Yes.

JIM: And heís aligned Vold?

ELIAS: Correct.

JIM: Heís common orientation?

ELIAS: Correct.

JIM: Emotional focus?

ELIAS: Correct.

JIM: And how many focuses does he share with me?

ELIAS: Eleven.

JIM: For his friend Kathryn, her essence name?

ELIAS: Essence name, Zitha, Z-I-T-H-A (ZEE tha).

JIM: Very good, thank you. All I know about Kathryn is sheís read Seth books, but I do feel she belongs to the Sumari family.

ELIAS: Correct.

JIM: Could I have her alignment?

ELIAS: Alignment, Sumafi.

JIM: Her orientation?

ELIAS: Common.

JIM: And focus type?

ELIAS: Emotional.

JIM: How many focuses does she share with Christopher?

ELIAS: Twenty-four.

JIM: How many focuses with me, if any?

ELIAS: Fourteen.

JIM: Fourteen, for goodness sakes! I think thatís it. Thank you very much. That will help a lot.

ELIAS: You are welcome.

JIM: Iím going into this physical existence wishing to disengage a bit. I think that I continue to experience physical life because I choose to do so each moment. Is that correct?

ELIAS: Correct.

JIM: For quite an extended period of time my objective desire has been to move on to other experiences. The fact that I havenít chosen to disengage seems to imply a conflict between my subjective choices and my objective desire, yet Iím told that the subjective and objective work in harmony. Can you clarify this for me?

ELIAS: This is correct, the objective and the subjective do move in harmony.

Now; what may be confusing are thoughts, for that is what offers you the indication, so to speak, that you want to be disengaging. But your thoughts, remember, are translating. Therefore, dependent upon how you are directing your attention, your thoughts may not necessarily be translating accurate information. In time frameworks in which you notice that what you think and what you do are different, the first suspect is thought in lack of accuracy.

Now; as you begin to evaluate your emotional communications and what you are actually doing, that offers more accurate information that thought may translate. In this, you do not choose yet to be expressing that choice of disengaging, for you do continue presently to incorporate some playful fascinations in continuing in this physical manifestation, experimenting with what information you may offer yourself or what abilities you may choose to play with.

The idea of death and movement into other directions and areas of consciousness may seem somewhat attractive, but there continues to be an element of unknown associated with it. Therefore, you choose to exhaust all possibilities in experimenting with physical manifestation.

JIM: So stay with the known rather than going to the unknown, thatís what it sounds like. (Elias chuckles)

Is there a connection between old age forgetfulness and transition? Whenever I stop with the question ďwhat did I do that for?Ē or ďwhat did I come in here for?Ē I realize I havenít been focusing on the now, but neither have I been focusing on past or future.

ELIAS: Correct.

JIM: Usually itís just my mind wandering in some other reality.

ELIAS: Correct.

Now; this is not necessarily limited to what you identify as older age, but it is frequently chosen as an experience as the individual progresses in age, for it is an excusable action in relation to transition. It is accepted by yourself and by other individuals.

JIM: So itís not necessarily transition, but I would guess more so transition than not.

ELIAS: Correct.

JIM: Now, letís see. Yes, I think youíve confirmed the reality of what might be called a ďDuneĒ dimension. If that dimension exists, is there also one where Bujoldís Barrayar exists?

ELIAS: Yes.

JIM: Are these dimensions actualized as physical realities?

ELIAS: Yes.

JIM: I feel I have one or more focuses in the Barrayar dimension. Is that correct?

ELIAS: Correct.

JIM: Do I have an Ivan type?

ELIAS: Yes.

JIM: How about an Ekaterin type?

ELIAS: Yes.

JIM: Lovely! (Elias chuckles) In creating a short story, I think Iím creating a dimension where that story has reality. Is that correct?

ELIAS: Yes.

JIM: And does that physically exist too?

ELIAS: Yes, but remember that these are translations into what is known within your physical dimension. Therefore, they may be somewhat different in the other physical reality.

JIM: So whatís really happening is Iím pulling information from that dimension, arenít I, when I create a story?

ELIAS: Yes.

JIM: Ah ha! Okay, I suspected that. Thatís good to know. Does my story writing have any relation to what Melody creates in that we both seem to be striving to display what society finds most offensive in sexual experience?

ELIAS: Yes.

JIM: What is my relationship with the black woman who made such an impression on me as I walked past her while walking up Fifth Avenue in New York City many years ago?

ELIAS: Other focuses and counterpart action.

JIM: Ah! Counterpart, thatís interesting. She did make quite a strong impression on me! (Elias laughs)

I suspect that the individuals in pictures that Iíve brought to my computer gallery each reflect some relationship to me and that my emotional reaction to them reflects that relationship. Is that the case?

ELIAS: Yes.

JIM: Now hereís a ticklish question. I recognize that I hold beliefs concerning Jews that generate a knee-jerk negative reaction on my part in spite of having no conscious memory of any cause for such a reaction. My remembered experiences have, in fact, been of an opposite nature. Is this negative reaction something Iíve picked up in this lifetime or is it bleed-through from one or more other focuses?

ELIAS: Bleed-through.

JIM: Interesting. As essence I seem to have an intense interest in sexual experiences associated with this dimension. Is that correct?

ELIAS: Yes.

JIM: As a focus of essence, does my own fascination stem from essence interest or is it from acquired beliefs or both?

ELIAS: There is some influence of the preference of essence, but it is more so associated with your choices and your fascinations and curiosities and explorations.

JIM: So itís more acquired than it is a natural thing. I donít know how to express that.

ELIAS: It is not acquired. It is an expression that you generate and that is associated with your exploration and your choices.

JIM: In shedding beliefs during post-disengagement transition, is it likely that this fascination I have will dissipate as beliefs are shed or will it perhaps diminish or change form?

ELIAS: Yes, for that is associated with objective expressions and associated with physical manifestation in relation to this particular physical dimension. Therefore, in shedding the beliefs and also shedding the objective awareness, you also disengage that type of fascination.

JIM: I kind of suspected that but I wasnít sure. Part of my reaction to movies such as those in which Melody participates is resentment at the degradation of females. Does that arise from my own beliefs or is that something from my essence preference for female gender?

ELIAS: No, this is associated with your beliefs, and also it is associated with your preferences. For remember, you continue to incorporate your preferences and your opinions regardless of whether you are generating an acceptance.

JIM: Letís see, Iíve got a little time left here. You told me that as essence I am biased toward female gender. I have a feeling that this is a rather strong bias. Could you give me an approximate ratio of female focuses to male focuses that I have in this dimension?

ELIAS: Two-thirds.

JIM: Thatís pretty good discrepancy, isnít it? (Elias laughs)

I have a picture in my memory of men with breathing apparatus swimming upward towards the sea surface in the company of dolphins. Is this picture associated with a future focus relative to my timeframe?

ELIAS: Yes.

JIM: Is that focus one of the men or one of the dolphins?

ELIAS: One of each.

JIM: For goodness sakes! (Elias chuckles) Oh my goodness! How many, if any, focuses do I have who live in timeframes that would be considered future in terms of my timeframe?

ELIAS: Approximately one-sixth of all of your focuses.

JIM: Iím spread pretty well across the time span, arenít I? (Elias laughs) Are any of these involved in extraterrestrial exploration?

ELIAS: Yes.

JIM: How many of my focuses are experiencing the timeframe that I currently experience?

ELIAS: Four.

JIM: Gee, I know most of them then, donít I? (Elias chuckles) Iíve identified most of them. In fact, I think Iíve identified them all.

Is the marauding bear that Iíve created my symbol of the Shift of consciousness?

ELIAS: Yes, YOUR symbol. Yes, you are correct.

JIM: The bear tears down the structures that I create to hold bird feeders, but except for emptying them spares the feeders themselves. Is the destruction of structures symbolic of social creations that will be destroyed by the Shift?

ELIAS: It is not necessarily a destruction, but a reconfiguration, yes.

JIM: The bear sure does reconfigure my stations, thatís for sure. (Elias laughs) What does the survival of the feeders themselves symbolize? In other words, thereís the core that survives and goes on, and I use them again.

ELIAS: That is imagery associated with the essential design of your reality and the elements of it that remain familiar.

JIM: And the sunflower seeds that the feeders contain become part of the bear! Is that symbolic? That seems to be symbolic. Can the seeds be thought of as beliefs, maybe?

ELIAS: And your impression?

JIM: Thatís what I was thinking, maybe they would symbolize beliefs.

ELIAS: Yes, and the reconfiguration of how they are perceived.

JIM: We talked about the owl symbol being important to me. Iíve experienced only one owl incident since retirement and that occurred at night. It was a battle between an owl and a raccoon that I heard and didnít see. I think that has a significance that Iím not seeing. Can you help me with that?

ELIAS: Do you incorporate an impression?

JIM: Well, the owl is my... Iím not sure. Iím gonna back off on that. Iím not sure at all.

ELIAS: Ha ha ha! In this, you offer yourself this imagery in association with strength and power, and that although another expression may seem to be or appear to be more powerful or able to overpower, the symbol that you incorporate as the bird for power overcomes the seeming power of greater strength.

JIM: Thatís interesting. Iím gonna have to listen to the tape on that one, I think.

It occurs to me that probable selves are created when different alternate selves make different choices when presented with probabilities of a moment. Is that correct?

ELIAS: Yes.

JIM: If probable selves are created in such circumstances, does the probable self thatís created then continue with the alternate self that made the choice as primary self?

ELIAS: Yes, unless choosing to be altering that expression, which would be a choice.

JIM: Right, I understand. Iíve been rereading some of Jane Robertís books and I find that I understand a lot more than I did at first reading. Is this a widening of my horizons letting me do that?

ELIAS: Yes.

JIM: I have a feeling that the aspects of psyche that Jane describes in her aspect psychology are similar to the alternate selves that youíve discussed. Is that right?

ELIAS: Similar, yes.

JIM: I feel that the material that Jane reports receiving from the Library represents a relatively undistorted receipt of concepts held by Ruburt. Is that correct?

ELIAS: Yes.

JIM: Seth has said, and I think youíve agreed, that we create in pulses the physical reality that we perceive. Is that right?

ELIAS: Clarify.

JIM: I understand that the subjective generates a pulse of energy, which then the objective perceives as physical reality. Is that correct?

ELIAS: One does not follow the other. They occur simultaneously.

JIM: Okay, but thatís the case of physical time being created by our perception. But the essential thing there is is it a pulsed situation? Thatís what Iím trying to get at.

ELIAS: In a manner of speaking, yes.

JIM: I feel that with each pulse, we recreate our entire physical body and its attendant senses, along with whatever portion of agreed upon universe that can impinge upon our physical senses in that moment. Is that correct?

ELIAS: That an outside source can impinge upon your physical senses?

JIM: Itís a reflection of what we create, I think. Is that correct?

ELIAS: Yes, but it is not an outside source or energy that would be affecting of you. You may be affecting of you and reflecting that in an outside expression, but it is not the reverse.

JIM: But we do recreate with each moment; thatís what I was trying to get at.

ELIAS: Yes.

JIM: I suspect that the duration of the pulse, this creation pulse, is much briefer in terms of physical persistence of matter than the objectively perceived time that it takes an energy signal to pass a nerve synapse. Is that correct?

ELIAS: Yes, that is correct.

JIM: So that says that there are many, many pulses needed to produce objective awareness of a change in physical sense data.

ELIAS: Yes.

JIM: I believe that our sense of physical time derives from perceived changes in physical sense data. Is that right?

ELIAS: Somewhat.

JIM: What Iím trying to get at is a perceived second would require a very large number of pulses. Is that correct?

ELIAS: It may be translated in that manner, yes.

JIM: Iím trying to get an impression of the magnitude of pulses versus seconds. I suspect itís somewhere in the range of Planckís constant. (1) Is that correct?

ELIAS: That would be acceptable translation.

JIM: So thatís a huge number! Thatís what I was wondering about. (Elias chuckles) How are we doing on time here? Iíve havenít got too much more but I havenít got many more questions either, so weíre working them out right here. (Elias laughs)

As I understand it, spoken or written verbal communication is an exchange of energy that actually occurs telepathically. Is that right?

ELIAS: Not necessarily, for I am aware of your common definition of telepathy. It is expressed in energy, but not necessarily in the identification of telepathy.

JIM: Is that which I perceive as saying or that which I perceive as hearing a translation of projected energy into linear form of language that we need for thought?

ELIAS: Yes.

JIM: The language that I perceive that Iím projecting and receiving is the language that I believe I am familiar with and expect to perceive. Is that correct?

ELIAS: Yes.

JIM: I feel that the actual energy exchange is language independent in the manner that William James notes in Jane Robertís book ďThe Afterdeath Journal of an American Philosopher.Ē Is that correct?

ELIAS: Yes.

JIM: If such an energy exchange is language independent, it seems to me that my inability to understand conversation or written words couched in an objective language not my own probably arises during the translation process as a result of expressed beliefs. Is that correct?

ELIAS: Yes, for you may engage the energy and generate an understanding, for the energy is expressed regardless of objective invented languages. You do incorporate the ability to receive and understand and translate energy without incorporating a particular objective language, and that is an objective action.

JIM: In other words, for that particular information we have no need to get it into linear form. We can handle it as itís received. Is that correct?

ELIAS: Correct.

JIM: I guess thatís it, Elias. I thank you very much for this chat!

ELIAS: Ha ha ha! You are quite welcome, my friend. I shall be anticipating our next conversation and your curious questions.

JIM: I certainly did run the gamut this time, didnít I? (Elias laughs) Very good, sir.

ELIAS: I am acknowledging of you. I shall continue to be offering my energy to you in encouragement and supportiveness, and I express to you my tremendous fondness, my friend.

JIM: Thank you, Elias. Thank you.

ELIAS: To you, au revoir.

JIM: Au revoir.

(Elias departs after 55 minutes.)


Endnotes:

(1) Jimís Note: The following definition of Planckís constant appears in Collierís Encyclopedia: ďThe constant of proportionality relating the energy of a photon to the frequency of that photon. Its value is approximately 6.626 x 10-34 joule-second.Ē

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