Friday, April 22, 2005
“An Explanation of Counterparts”
“Artists and Fame and Success”
Participants: Mary (Michael), Jennifer (Urseline) and Ken (Oba).
(Elias’ arrival time is 16 seconds.)
ELIAS: Good morning!
JENNIFER: Hi, Elias!
KEN: Hi, Elias! How are you?
ELIAS: Ha ha! Welcome! As always, and yourselves?
KEN: Great, just great. Happy to be talking with you.
ELIAS: Ha ha! And you also! And how shall we proceed?
JENNIFER: Kenny and I are going to share the session. I was wondering if you could please tell me – my name is Jennifer – my essence name, family, alignment, tone and orientation, please?
ELIAS: Essence name, Urseline, U-R-S-E-L-I-N-E (UR suh line). And your impression as to essence families?
JENNIFER: My impression? I think I’m Tumold.
JENNIFER: Oh, wow! (Elias chuckles) I can’t believe it!
KEN: Good job! Good job!
JENNIFER: I love the name!
ELIAS: (Laughs) And your impression as to orientation?
JENNIFER: I don’t know too much about that. I’m thinking... Well, soft comes to mind, but I don’t know.
ELIAS: (Chuckles) Common.
JENNIFER: And my tone?
ELIAS: As to tone, what are you inquiring of – note, color, or focus type?
ELIAS: Musical note?
ELIAS: High C.
JENNIFER: Wonderful. I was wondering if you could tell me the essence name, family and alignment of my son Tyler.
ELIAS: Essence name, Kai, K-A-I (KYE). And your impression as to essence families?
JENNIFER: He’s kind of hard. He’s very... Maybe Sumari?
JENNIFER: And I also think he’s Tumold alignment.
JENNIFER: Wow, that’s Tyler. (Elias chuckles) And my husband’s family? I think maybe his impression is he might be Vold.
JENNIFER: I don’t know his alignment, though. That’s kind of stumping me.
JENNIFER: Oh, yeah!
KEN: That’s what I thought.
JENNIFER: Very good! (Elias laughs)
KEN: Did you get Tyler’s orientation?
JENNIFER: Oh! Tyler’s orientation?
JENNIFER: Yeah, we’re very similar. I have an impression that I’m an old essence. Is that true?
ELIAS: In a manner of speaking, yes.
JENNIFER: Not in this dimension?
ELIAS: You do incorporate many, many, many focuses in other dimensions, but you also do incorporate many in this physical dimension.
JENNIFER: So I’m kind of well traveled?
ELIAS: (Laughs) As are you all!
JENNIFER: How many focuses in this dimension?
ELIAS: Two thousand two hundred forty-one.
JENNIFER: Wow! How many have I had with my son Tyler? I’m very connected to him.
ELIAS: Six hundred twelve.
JENNIFER: I thought a six hundred number.
My impression of past focuses is as an early Celtic, maybe Druid, and also an existence in Nepal. I love to kind of take these little mental vacations. They’re very fun. I try to figure out, maybe get some places in my mind. I’m wondering if you could help me get a focal point on place and time of maybe my Celtic focuses.
ELIAS: Ireland within 16th century.
JENNIFER: Wonderful. How about Nepal? Was I maybe Tibetan, a Tibetan monk, perhaps?
JENNIFER: I have a real draw to that. Do you have a time, maybe, for that?
ELIAS: Eighteenth century.
JENNIFER: Wonderful. Thank you, Elias. I love this.
I also have an attraction to William Blake. Do I have any past focuses with William Blake?
ELIAS: An acquaintance.
JENNIFER: I love him. Was I maybe a student?
JENNIFER: I also have a connection... When I was about 12 or 13, I wrote a poem, and my teacher thought I was plagiarizing “The Rime of the Ancient Mariner,” and I did not; I never read it. I was wondering if I had some kind of connection with Samuel Coleridge, who wrote that poem.
JENNIFER: Could you elaborate on that?
ELIAS: You engage a counterpart action with that individual. You may engage counterpart action with individuals within your own time framework or other time frameworks, and you may engage counterpart action with focuses of your essence or focuses of other essences. You engage countless counterpart actions with other individuals.
This is an efficient manner in which essence generates experience. By engaging the counterpart action, you assimilate the experiences of other individuals, whether in part or in the entirety of a particular focus, which allows you to tap into different qualities and expressions or talents, so to speak, that may be latent within your focus but that you do incorporate.
JENNIFER: I was having some problems a while ago, and I meditated a long time on it and I had no resolution. I really thought about you and what you would say during this time. That night, I had a vision of a piece of paper floating. It turned and twisted and then turned into a butterfly and flew away, and kind of in the background I saw what looked like a blue person.
The next morning, I had no answer to the question but my emotions were gone. I couldn’t even get upset about the problem if I thought about it, and it went away because I didn’t participate in the problem. I was wondering, can you explain that, and was that thing I saw, was that you?
ELIAS: Yes. I am quite fond of butterflies.
JENNIFER: It was beautiful. It flew away.
ELIAS: (Laughs) Now; express to myself, what was the nature of the difficulty?
JENNIFER: Well, it was with a person at work, and we had a personal problem between the two of us. It was a roadblock of sorts. It bothered me for quite a long time, and I really couldn’t communicate to this person how I felt.
ELIAS: And what did you feel?
JENNIFER: I felt betrayed by this person. I felt that she wasn’t being honest with me, and that I had confided in her and she betrayed my confidence.
ELIAS: Very well.
Now; in this you notice that as you allowed yourself to stop concentrating upon this situation that the emotional communication dissipated. But what is also significant in this experience is that you moved your attention away from concentrating upon the other person, which is significant, for other individuals do not create your reality. Therefore, if you are experiencing betrayal, you are offering yourself an emotional communication and a signal that is expressing to you the identification of some action you are generating within yourself.
Betrayal is generally experienced in situations in which an individual is exposed in a manner that they are not willing to participate in, for generally speaking, that exposure involves some aspect of the individual that is being protected and hidden and is being held in secrecy. Therefore, as it is exposed, there is an automatic expression of defensiveness, which generates the experience of betrayal. But in evaluating what you are actually communicating to yourself, you may also evaluate what you are attempting to protect and what you are holding in secret and what association you generate with that subject matter that you assess is so very bad.
In allowing yourself these types of evaluations, you also may begin to recognize that whatever you are holding in secret and whatever you view as being so very bad may not necessarily be. You generate those associations in association with your beliefs, but that is merely one influence of your beliefs. There are other influences that you may choose that shall generate a very different perception concerning the same subject matter.
JENNIFER: You hit that right on the nose. (Elias chuckles) That was beautiful. I actually learned to deal with what I held in secret, and I moved on from it. I don’t feel that it was so bad anymore; it was actually a learning experience. So I turned a negative into a positive after that experience with you.
JENNIFER: My son has this thing he calls “flash forward.” He’s nine years old. He has his own little term for it, where he gets a flash or a picture of something and then he says he sees it in the future. Do you have any comments on this? It’s quite fascinating.
ELIAS: (Laughs) And not actually very unusual in relation to small ones in this time framework, for they allow themselves much more freedom and are much more automatically directing of themselves, for they are incorporating most of their focus in the objective aspect of this shift in consciousness.
Let me express to you, what he is generating and tapping into is an awareness of simultaneous time. Although within your physical reality you configure time in a linear fashion, it is in actuality simultaneous. The purpose of generating linear time is to create physical matter, but experiences do not necessarily require time.
In this, it is not a matter of fortune telling or precognition, so to speak. For in actuality, there is no future; all is occurring now. What he allows himself to tap into is that awareness that all that is being generated is occurring now, and he allows himself to tap into probabilities that are potentials to be inserted into your actual physical reality. They are not actually absolutes, for there is always the element of choice, and that always incorporates the possibility for alteration of experiences and scenarios and choices. But he is allowing himself to tap into potential probabilities that can be inserted into your physical reality dependent upon the choices that are generated now.
JENNIFER: Ever since I was very young, 10, 11, 12, I used to be totally awake in my bed and see translucent symbols. One was a square, one was a circle. Of course, you interpret it as a ghost, but now I wonder if I’m just getting bleed-throughs, or if it was you, because they’ve kind of stopped since I started reading about you and the things you have to say.
ELIAS: (Chuckles) An introduction.
JENNIFER: That’s what I thought. Do we also communicate in my dreams? I know we’ve talked, but I don’t remember a thing we’ve said.
ELIAS: Yes, and this is not unusual. I may express to you, for the most part, as individuals translate my energy into dream imagery, if we engage in discussion, they do not objectively remember. But it matters not, for you have assimilated the energy and the information regardless, and it does become obvious and it does translate into your experiences, whether you objectively remember the conversation or not.
JENNIFER: Do I prefer to be more in the physical dimensions than in the nonphysical dimensions?
ELIAS: Let me offer explanation. You do incorporate a preference to be exploring within physical dimensions, but all essences incorporate vast aspects that are also nonphysical. But you do incorporate a fascination for physical realities and how to manipulate within them and what you may explore within physical manifestations, for it is somewhat fascinating to be creating things from no thing. (Chuckles)
JENNIFER: Yes, it’s absolutely fascinating! I guess, being Tumold, I’m kind of shifted towards the medical field. One of the big things is, is there anything specifically that would be helpful in the dying process, or is it just going to naturally occur on its own without any help from me?
ELIAS: In what capacity?
JENNIFER: When I’m with patients that are dying, is there anything that I could do or say that would help the process? Usually I’m alone with them.
ELIAS: It is dependent upon the individual and their process. Some individuals incorporate significant fear in association with death. Some individuals recognize that this is their direction and that this is their choice. Some individuals experience a resistance. It is a matter of their process.
In association with the actual choice of disengagement, that is the individual’s choice, and they shall or shall not generate that. But as to their individual processes, yes, you may be supportive of each individual in generating an acceptance of what they are experiencing and not attempting to discount what they are experiencing by offering them different information. The automatic response to individuals that may be engaging this process of disengaging is to offer them other information to attempt to comfort them, but in actuality, that merely discounts their experience, and it is perceived as an invalidation of the reality of what they are experiencing.
Therefore, in acknowledgment of their experience and acceptance of that and allowing their sharing of their experience with you and you allowing yourself to share with them, that shall be a much more supportive action.
JENNIFER: That’s wonderful. I thank you so much.
ELIAS: You are quite welcome.
JENNIFER: I’m going to let Kenny talk to you now. Thank you.
ELIAS: Very well. You are welcome.
KEN: Greetings, Elias.
ELIAS: Greetings, my friend!
KEN: I would like to start by asking my essence name. I have an impression that it’s the word Baga, B-A-G-A.
ELIAS: That would be a focus name, but the essence name would be similar. It is Oba, O-B-A (OH buh).
KEN: Cool. My impression of my family is Sumafi and alignment Sumari.
KEN: Awesome, thank you. And my musical note?
ELIAS: Your impression?
KEN: Actually, I don’t have a clue. Let me think... I’ll say A.
KEN: That fits in with rock and roll, so interesting! My orientation, I think I’m either soft or intermediate.
KEN: That makes sense. For my beloved daughter Marilyn, I would like to know her essence name.
ELIAS: Essence name, Macey, M-A-C-E-Y.
KEN: And her family?
ELIAS: And your impression?
KEN: Possibly Sumari. She’s very artistic.
KEN: And alignment?
ELIAS: And your impression?
KEN: Wow! And her orientation?
KEN: And the number of focuses that Marilyn has had in this dimension?
ELIAS: One thousand three hundred eighty-six.
KEN: And the number of focuses that Marilyn and I have shared together?
ELIAS: One hundred forty-nine.
KEN: Now I’m going to move on to another thing here. My impression of my intent is artistic and musical creativity primarily, as well as creation using the written word. I believe my creations mirror the Shift quite well. My artistic abilities are considered by many to be extraordinary, which at one time led me to think that this is the result of many focuses in this dimension.
But aside from that creative confidence, I’ve always had a feeling of being new to this dimension or a quote “babe essence” unquote, as you previously expressed to others. I observe myself as stumbling anxiously through this existence, whereas most others that I observe seem to me to be, as the expression goes, right at home here with an almost intuitional ability to know how to function here. So, could this mean that I have few focuses here and that my artistic ability is a carry-over from another dimension that I am more familiar with?
ELIAS: No. What you are generating as experience that appears to you to be paradoxical is actually quite understandable. I may express to you, you do incorporate many focuses in this physical dimension, but you are the initiating focus. Therefore, your experience appears to you to be somewhat strange or odd, but also quite intriguing and exciting.
KEN: Absolutely. (Elias chuckles) I even used “intriguing” in one of the other questions.
ELIAS: This is not uncommon for initiating focuses.
KEN: Excellent answer. There is another one that interests me. In Session #430 – which, by the way, is one of my favorites; I love to read this session – you express that the reason some artistic creations are considered to be masterworks – I’m paraphrasing here – is because the artist projects an aspect of his or herself into one or more of their creations, which makes the creation appear as if the work has taken on a life of its own, so to speak.
KEN: In my opinion, that description fits an artist like Van Gogh. I am curious as to why an artist of that stature would garner widespread admiration presently but have little or no recognition in his own lifetime. My question is, is there a possibility that certain beliefs, and therefore perceptions, could sabotage the success of an artist even though their creations could be considered masterworks? Also, is it possible that alignments with mass beliefs about artists could have a similar effect, like for instance the old cliché about artists becoming famous after they’re deceased? That’s a bit of a lengthy question, but that’s what I was wondering about.
ELIAS: I shall express to you, there are many different factors that may be in play, so to speak, in relation to whether an artist is recognized in fame within his focus or her focus, or whether they become famous subsequent to disengagement. Some elements may be associated with mass beliefs, and as all that you do and all that you create and experience within this physical reality is filtered through your individual beliefs, they are influencing also. But a significant element or factor in whether an individual expresses notoriety within their focus or not concerns how the individual perceives their expression, their craft, and how they perceive themselves in relation to their creativity.
There are individuals that do incorporate notoriety within their focus, and a significant factor in that is that not merely are they projecting aspects of their energy into the actual creation and merging that with the actual paint of their medium, but that they are also themselves generating a genuine appreciation of themselves and of their creations.
There are many, many artists that have not been recognized within their focus in association with their creativity, but that, generally speaking, is generated for the reason that the artists themselves are not appreciating of their own expression. Therefore, in discounting their own expression, it matters not how much they may project their energy into their creation. They block the reception of it from other individuals within their focus, and therefore, it does not become recognized until they have disengaged.
But there are also many, many artists that do successfully express recognition within their focus. Individuals like to romanticize artists, and they incorporate this idea that it is more valuable or more romantic if the artist appears to be the stereotypical starving artist and not appreciated within its focus. But in actuality, there are a considerable number of artists that actually are recognized within their focus and appreciated, and you incorporate many, many, many examples of them.
The ones that appear to be more mysterious and more romantic are those that are not recognized within their individual focus, some of which are not generating notoriety or recognition or fame within their focus, for they are continuously dissatisfied with their creations. They are forcing their energy and continuously striving to be generating better. Therefore, they continuously express a dissatisfaction with what they are creating – which, in actuality, that expression could be altered significantly quite easily if the individual allowed themselves to recognize that their push within themselves is associated with a drive to be expanding their ability, rather than a continuous discounting of themselves in a dissatisfaction that they are not producing well enough.
KEN: Excellent answer. I’ll definitely ponder that. (Elias laughs) Well, it wouldn’t be a session without a crystal-ball question.
KEN: This concerns the Bible code and how, from a subjective standpoint, information can be encoded within writings and artworks. One of the aspects of my artwork is what I refer to as an improvised pictorial language expressed through harmonious shapes and forms. I have an impression that in what we would refer to as a future time – of course, time being simultaneous, but what we would refer to as a future timeframe – that my art will be of interest to people in the Alterversity and also those involved with Shift Assist, as they – I would imagine do this for fun – decode information referring to the Shift from its pioneer days onward, so to speak. In my case, it would be information subjectively encoded into the artwork that I create in this focus. Are my current actions moving in line with this type of probability?
ELIAS: Yes. They already are. You are already generating that action and already creating that encoding in your creativity.
KEN: I had that feeling, so I guess I was on the money on that one. I always had that feeling that there was something in there, messages of some sort. Great! Thank you very much!
ELIAS: Ha ha! You are quite welcome.
KEN: Here’s one. This refers to an artist that I’m interested in that at one time used to teach and lived in the town I call home now. I’m curious about any connection between myself and a primitive folk artist who went by the name of Earl Cunningham. He had little recognition in his lifetime, but his work is now in the permanent collection of the Metropolitan Museum of Art in New York, and he will be the first folk artist to have a one-man show at the re-opening of the Smithsonian American Art Museum in 2007.
After I acquired one of his paintings, I read a book about him, and the book told of how he hoarded his artwork rather than put it out into the world. This is just my opinion, but I think this might have been a factor leading to his troubled state of mind in his later life. After pondering this, I had an epiphany-type experience, and decided at that point no longer to hoard my own work, which I had been doing also. Based on this revelation, I decided to put my artwork out into the world rather than hoard it. So, based on this, I chose to go in a different direction, and I now am represented by two art galleries. Are there any comments on this?
ELIAS: And I may express to you that this is a focus of you.
KEN: Oh! Earl Cunningham is another focus of me?
KEN: I should have known it! Because even back when he was totally unknown, I used to walk by his shop and look at his little paintings in the window. I was very young and didn’t understand primitive art at the time, but there was always some kind of energy that came from these paintings that kind of attracted me. Then a year later, I wrote this prose poem and I made a reference to one of his paintings. Many years later, I found out that he had become prominent and famous, and I almost keeled over! I said, “Oh my goodness! That man with the little curio shop is now a world-famous artist!” (Elias laughs) So that’s another focus of me. That makes sense. That is so cool, very, very cool. Thank you!
Now I’m going to jump off in a different direction here. I have a fascination with meteorites. Let me see if I can pronounce this right. In the Sikhote-Alin mountains of Siberia, Russia, a large group of fragmented metal meteorites landed in 1947. I am curious as to whether these are what we commonly define as meteorites or are they leftover debris from essences visiting from another dimension? This would be the kind of matter that is commonly misinterpreted as crashed space vehicle debris. That’s my question.
ELIAS: A bleed-through. Yes, you are correct.
KEN: It is a bleed-through, rather than just coming from our solar system?
KEN: Awesome! I own one of those. I have one of those meteorites, and now I can look at it and behold a bleed-through item there in my little curio cabinet. (Elias laughs) Would it be a bleed-through in the form of a visitation, or just a bleed-through of physical matter from another dimension? What I mean by visitation is somebody in a craft visiting and then leaving debris, as we leave debris when we visit – robots on another planet and that sort of thing?
ELIAS: Yes, both.
KEN: Here’s what I refer to as a few fun questions that refer to possible previous contacts between you and me. The first one is thirty years ago I painted a picture of a blue sky with a blue eye floating in the sky. At the time, I never really liked the work too much, because even though I liked surrealism type of artwork, I considered this work to be a bit of a cliché. But recently I took this painting out of storage where it had been for three decades, and I tend to have a fondness for the painting now. On my first looking at it, I just thought, “This reminds me of Elias.” I wondered, was that painting that was created back then indicative of my initial contact with you?
ELIAS: Yes, and inspired.
KEN: Awesome! Yes, that’s what I thought! Thank you. (Elias laughs)
Here’s another one. This is a fun one here because it involves playfulness and electricity. Last year my daughter and I were watching the second Harry Potter movie, and suddenly the closed-caption function on my DVD player turned on by itself and displayed for a split second the word “Jenny” – that’s one of the characters in the movie – so at the bottom of my screen I suddenly see this word “Jenny” and then it disappears.
I thought that was interesting, so later that day I got on the Elias forum website and typed “Jenny” into the word search, and the first entry was a session in which the participant referred to a dream about a green rose. I found this very intriguing, because I had recently created an artwork that prominently featured a green rose. In fact, the owner of one of the galleries that exhibits my work purchased this piece for his own personal collection. By the way, I didn’t tell him about this little incident because he’d probably think I was a lunatic! (Elias laughs)
Anyway, this incident once again seemed to be a contact to me from you, especially because of the playful tampering with an electronic device.
KEN: That was? I thought so. (Elias laughs) I’ve got a couple more of this type. On a more recent note, have you had anything to do with the flickering streetlights I frequently encounter when I walk to my vehicle after work?
ELIAS: Ha ha ha! Yes!
KEN: I thought so! Sometimes I walk along and I’ll just look and go, “Hi, Elias!” when I see them flicker. (Elias laughs)
Here’s one more. I just recently created a work. I consider all my work multi-dimensional, and they have these different panels that sometimes interact with each other or sometimes different imagery. They’re little rectangles, and in one rectangle is a very photo-realistically rendered... It looks like a painting, but it’s actually a drawing of rippling blue water with two cypress trees in the little landscape. I didn’t really think much about it at the time, but I got to think, hmm, rippling blue water and cypress, which evokes the connection with the “Oversoul Seven” books by Jane Roberts. I wondered if this is an Elias-influenced activity, so to speak.
KEN: Cool, thought so.
ELIAS: And also associated with the two saplings.
KEN: Oh! Exactly, exactly! One sapling showing by example to the other sapling.
KEN: Oh, what a beautiful message! That’s great! Actually, I was kind of worried about this, because I took the picture in wintertime and it seemed like forever... I thought the trees might have been dead because I didn’t see any leaves coming up on them. Finally, when I was driving to work the other day – these are in my neighborhood, by a little lake – I saw the leaves coming out of it. It pleased me to see that. (Elias laughs) I’ve looked at that little drawing and I’ve had people say it almost looks like you could put your hand into the water and be in the water – very realistic.
Cool, that’s great. I think I’m just about done here. Oh, I’ve got a couple more minutes, seven or eight minutes.
JENNIFER: I have one more quick question.
KEN: Go ahead.
JENNIFER: Elias, I was wondering if you could give me just a really small inspirational thing that I can write in my book, so when I have a busy, hectic day I can look at it and get some inspiration from you to help me go on with these busy days we have.
KEN: That’s right, I forgot that one.
ELIAS: Ha ha! Very well. (Slight pause) Appreciation of the smallest element can create the most wondrous and monumentous alteration of reality.
KEN: Awesome. Beautiful.
JENNIFER: Thank you so much.
ELIAS: You are very welcome.
KEN: We have a moment or two. Would you like to say anything else, Jen?
JENNIFER: No, go right ahead.
KEN: This is just my little closing statement. (Elias laughs) I would like to express my admiration for the way you get your point across in the delivery of your information, because to me it’s a beautiful work of art in itself. I felt that Seth did the same type of thing. I’d read the explanations and sometimes I’d think it’s just very creative. It’s hard to articulate this, but it reminds me of a work of art. It’s great. I really, really get a kick out of it.
In my final closing, I have to throw in a little bit of my silly humor. I definitely agree that experience is the best teacher, because I’ve read and read and read the concepts for so many years but they really only seem to ring true when you actually experience them rather than conceptualize them. I will provide myself with the final word of advice, that it would be in my best interest to either shift or get off the pot. (Elias laughs loudly)
Thank you very much. It was a beautiful experience, Elias. Thank you.
JENNIFER: Thank you, Elias.
ELIAS: (Laughing) You are both very welcome! And I may express my appreciation of your closing comment! (All laugh) I shall be anticipating our next meeting, my dear new friends – but old friends, also.
KEN: We’re both looking forward to it. Thank you.
JENNIFER: Thank you.
ELIAS: Be quite encouraged, and remember, be playful.
KEN: Yes, I’m far too serious. I need to be more playful.
ELIAS: Remember the butterfly and how playfully it flutters. (Laughs)
JENNIFER: Yes, Elias, I will.
ELIAS: I express great affection to both of you and tremendous appreciation. In great fondness and lovingness to you each, au revoir.
KEN: Thank you.
JENNIFER: Au revoir.
(Elias departs after 48 minutes.)
© 2005 Mary Ennis, All Rights Reserved.