Friday, July 07, 2000
ďPersonal Responsibility IssuesĒ
Participants: Mary (Michael) and Mike (Mikah).
Elias arrives at 1:01 PM. (Arrival time is 22 seconds.)
ELIAS: Good morning!
MIKE: Good morning, Elias!
ELIAS: (Chuckling) How goes your adventure?
MIKE: (Laughing) I donít know anymore! (Elias chuckles) I donít know where to start. Let me think. I have some questions from my sister, and I have some questions from my mother, but I think Iíll save those for the end because I have some questions for me first!
So, the first thing I would like to ask you Ė which I donít think Iíve really ever asked you or given you a chance to finish Ė is for more of an explanation of my intent in this focus, and a little bit more about the elements within it.
ELIAS: Express to me, what is the direction of your confusion?
MIKE: Well, the whole thing! I mean, I asked you one time, a long time ago, and you said that it was something about discovering my own creativity, and I donít understand! (Laughing)
ELIAS: (Chuckling) Let me express to you, Mikah, each individual, as they manifest within this physical dimension, creates their own individual exploration of physical reality. This is the expression of your intent, so to speak Ė your individual exploration of this physical dimension.
Now; within different time frameworks, individuals may also align with what may be termed as a mass intent and incorporate that into an aspect of their individual intent, as in the situation presently. You all participate in this shift in consciousness, and therefore, there are aspects of your intents individually that are incorporated in association with the movement of this shift. But you also each create your own expression of an individual intent which is unique to yourself.
In this, you also are participating in this shift in consciousness, and therefore, there are some aspects of your movement that are created in relation to that shift, and the influence that you exert in conjunction with this shift and its accomplishment.
But individually, as YOU have manifest, you have chosen, in this particular focus, to turn your attention in the direction of exploring different aspects of self.
You allow yourself to be paying attention to the expressions and choices of other individuals. You participate in different actions with other individuals. You allow yourself to watch how other individuals create their reality and express their creativity, and you associate that movement, in your watching and your assessment of other individualsí movements, with your own movement and your own discovery of your abilities in creativity.
(Intently) This is your individual exploration of how you may be creating creatively in many different types of expressions. This offers you an ongoing element of challenge.
In this, I am not merely expressing to you the identification of creativity as it is associated with in the definitions of your mass expressions. I am not expressing an identification of creativity as it may be associated in relation to artistic expressions or engineering expressions or even physical inventiveness, but in many, many areas and expressions of your individual focus.
This may be expressed in interaction with other individuals in each particular situation that you participate within, and how you may be interactive with another individual in a creative manner or how you may be creatively expressing yourself in challenging situations that you participate within.
In another manner of speaking, you have chosen in this focus to be exploring what may be identified as the out-of-the-ordinary or unusual choices of interactions and of creations, allowing yourself to continue to participate within the officially accepted guidelines of reality, so to speak, and not creating what may be viewed overtly as tremendous expressions of unusual creations, but that you offer yourself the opportunity, in more of an expression of subtlety, to be moving in the expressions of different types of interactions and creations that may be viewed as unique or unusual, and this is an expression of your creativity.
This may be expressed in a type of manner with another individual, such as a family member, in which you may be interactive or conversing with the other individual, and they may be presenting ideas and opinions to you in quite practical, mundane terms, and you may allow yourself to explore other manners of thought in association with your interaction with the individual concerning the subject matter that they are engaging, therefore expressing an unusual viewpoint, so to speak, or a different viewpoint, in a manner of speaking.
This IS an expression of creativity, for you need be engaging creativeness to NOT be interactive with individuals in the expected manner. (Pause)
This may also translate into physical expressions and inventiveness, but it is more frequently expressed in interaction with other individuals, and also within yourself. For within yourself, you create movements which may be likened to trickery within yourself to be diverting your attention in many different directions, and stimulating yourself within your OWN thought processes to be expressing different and creative expressions and viewpoints concerning your OWN movement. (Pause)
Although I may also express to you that in this action, many times you create an expression of confusion within your own expression of creativity! Ha ha ha ha ha!
MIKE: (Laughing) At times? More like all the time!
ELIAS: Ha ha ha ha ha!
MIKE: (Laughing) Okay, so I guess Iíd better start interacting with more people then. Is that what Iím getting from this?
ELIAS: Not necessarily.
MIKE: I donít interact with too many people.
ELIAS: Ah, but you are quite interactive with certain individuals! It is not necessarily the volume of individuals that you are interactive with, but the interactiveness itself. You ARE interactive to a great extent with those individuals that you identify as family members.
MIKE: Yeah, I suppose. (Elias chuckles) Alright, so itís basically just having a different viewpoint, in expressing my own creativity?
ELIAS: In a manner of speaking.
Now; let me also express to you that as you allow yourself movement into your own acceptance of self more fully, and more of a recognition of your abilities in trust of yourself Ė and as you loosen your hold upon your expression of personal responsibility concerning other individuals! Ė you shall also present yourself with much more of an expression of freedom in this creativity, and you shall allow yourself much less confusion in your movement as you create your expressions of creativity. (Pause)
ELIAS: Much of what you create in your expression of confusion individually is influenced by your hold in the expression of personal responsibility, continuing to hold your attention outside of self, and in your doubt of self and your lack of trust and acknowledgment of your own abilities, which also reflects within your expression of individual worth, which we have spoken of many times.
MIKE: Yes. (Laughing, and Elias chuckles) Alright, I guess a good question to follow this one up with is something I know you told me constantly last year in one of the sessions, but I never followed it up. But how is it that I limit my creativity with my attention or with my singular focusedness? First of all, I donít even understand singular focusedness in the context of what youíre talking about. I can see it in minor stuff, but I donít see how, on the grander scale, it would affect my creativity or whatsuch.
ELIAS: Very well. Let us examine this expression.
Singularly focusing your attention outside of yourself, in a tremendous concentration and occupying much of your time framework, limits your recognition of your own movement, limits your acknowledgment of your abilities, limits your understanding of what you are creating, for your attention is not centered upon self.
Your attention is automatically projected outside of self, and you camouflage this in the expressions that you are ďthinkingĒ much of the time; you are attempting to be examining your actions much of the time. But this is merely a camouflage that you offer to yourself, for you are not in actuality genuinely examining self or turning your attention to self. You may be occupying yourself within your thoughts continuously, and this may not be an expression of turning your attention to self! Merely for the reason that your thoughts are created, in your perception, somewhere within you is not to say that those same thoughts are concerned WITH you.
Holding your attention outside of yourself, in tremendous concentration of what you identify as time framework, IS limiting, for this does not allow you the opportunity to become familiar with you. It DOES create automatic actions, automatic associations, and reinforcements of the belief systems that you hold, and this is not the point.
The point is to be familiarizing yourself with self, to be familiarizing yourself with your individual beliefs, allowing yourself the opportunity to notice and recognize and identify your individual beliefs, and subsequently allow yourself to recognize the influence that your beliefs hold upon your perception, and in this, recognize that your perception creates all of your reality Ė EVERY MOMENT of your reality.
As you begin to turn your attention to self, you also begin eliminating, one by one, the obstacles that you have created within your own movement, and in this, you allow yourself to recognize your automatic responses Ė WHY you create the movements that you create, HOW you create, WHAT you create in your reality, and most significantly, that you DO create all that is expressed within your reality.
This be the most significant aspect, for there remains aspects of your reality that you do NOT view that you create! (1)
MIKE: (Laughing) Such as?
ELIAS: Ah! You may be in interaction with one of the small ones, and you may view actions that one of these small ones are creating, and you shall express to yourself, at times of exasperation Ė or even within times of acknowledgment of the choices of one of these small ones Ė and you shall assess to yourself that some element outside of you has created this action. You have perceived it, you have viewed it, but your identification of perception is that you are viewing, not that you are creating.
Let us express a hypothetical situation. You are interacting with one of the small ones within your home hypothetically this day, and that small one drops a cup of liquid upon the floor, and you express exasperation, for the small one has dropped the cup of liquid upon the floor, and you view that you now need be mopping up the liquid.
Now; who has dropped the liquid upon the floor?
MIKE: The small one.
ELIAS: YOU have dropped the liquid upon the floor, for you have created another small one, which is YOUR perception of this individual, and the action has been created by YOU.
MIKE: (Laughing) You always give me the brain teasers!
ELIAS: HA HA! But you are so very fond of this type of creativity!
MIKE: (Laughing) Yes, I am!
ELIAS: Ha ha ha ha ha ha!
MIKE: (Laughing) That is so interesting!
ELIAS: Now; your response automatically, in this hypothetical situation, is exasperation, for you assess that now you must be mopping up this liquid which is upon your floor. This would be an automatic expression, hypothetically, that you may create.
In this, what is your expression?
MIKE: To the small one? Clean it up! (Laughing) Usually my automatic expression is to make them clean it up, but at the same time, I get mad because Iím thinking Iím gonna have to clean it up.
ELIAS: Quite! Now; what is your identification of what is occurring? What are you creating in that moment?
MIKE: In that moment Ė in the moment of the automatic expression, or the moment that the cup dropped?
ELIAS: In the moment of the automatic response.
MIKE: Oh geez. I donít know! Thatís something Iíve been thinking about the past couple of days. Maybe something with control?
ELIAS: You are expressing an automatic response in personal responsibility ...
MIKE: Ah! Once again!
ELIAS: ... that you need be assuming responsibility for the choice and action of another individual.
MIKE: But I thought you said Iím the one who dropped the cup.
ELIAS: You are, as created by the blueprint of the other individual.
The other individual is creating, hypothetically, the action of dropping the cup, for they have chosen to be dropping the cup. You also, modeling your creation of the individual from a blueprint that you have created of that individual, create an action simultaneously of dropping the cup also.
Now; in this, YOU create the interaction with the individual that you have created through your perception, and in that interaction, you interact with yourself, in a manner of speaking.
Therefore, you project your attention outwardly, hold your attention upon the outward action and your evaluation of that outward action, and you automatically express personal responsibility, in the expression that YOU need be responsible for all actions that are occurring outside of yourself.
MIKE: Hmm. (Sighing) Very interesting! More food for thought.
ELIAS: Let me also express to you, Mikah, which may be motivating within your thought process, assuming personal responsibility for individuals or situations or actions outside of yourself is NOT an expression of acceptance. It is not an expression of acceptance of self and it is not an expression of acceptance of another individual.
MIKE: It goes back to the thing of tolerance, doesnít it?
MIKE: Partially. Okay, okay. (Sighing) Iíll have to sit on that one for a while. (Elias chuckles)
Alright, letís see. I have a couple more questions before I ask about stuff for my sister. One of the questions is the thing with Australia. Everything around me, all I see Ė Iíll flip through the channels, I see Australia. Everything around me! Iíll see at least ten to fifteen to twenty things a day on something with Australia, yet nothing has happened yet, or I havenít presented myself with the opportunity to go there yet, and I was wondering, why am I holding myself at bay?
ELIAS: And why shall you move yourself in this direction? As you continue to assume personal responsibility for the individuals that you participate with, you are much too busy occupying yourself outside of yourself to be concentrating your attention upon your OWN creations!
MIKE: So, youíre saying by allowing myself to be here and do what Iím doing now in the area of personal responsibility with Candace, Iím not allowing myself to go?
ELIAS: You are not paying attention to self. You are not creating YOUR expression of YOUR wants. You are occupying your attention outside of self.
MIKE: Okay. More food for thought! (Elias chuckles)
Alright, letís see. Oh yes, I have a couple of focus questions for you, because I love to ask these! I will totally understand if you shoot me down on this one because I did no investigating whatsoever. The only thing I have is an inkling of it. So the automatic follow-up to this question is going to be, who? I would like to know if I have a focus as a friend or relative of someone well-known or famous in which I would be able to find a photo of myself as that focus.
ELIAS: Yes. (Grinning)
MIKE: Yes? Who? (Laughing)
ELIAS: And you already may be anticipating my response! (Grinning)
MIKE: (Laughing) No, who?
ELIAS: Ha ha ha ha ha!
MIKE: (Laughing) Can you give me some hints? Please?
ELIAS: Ha ha! But I express to you, Mikah, this is the element of fun! Ha ha ha! The incorporation of playfulness! Ha ha ha ha!
MIKE: (Laughing) Oh geez! Alright. Can I take some cracks at it? Because I do have some ideas.
ELIAS: Ah, guessing, guessing, guessing!
MIKE: (Laughing) Yes, guessing, guessing, guessing!
ELIAS: Ha ha! No, no, no! (Laughing) How shall I incorporate my interaction of fun if I am not challenging you to be investigating? Ha ha ha ha!
MIKE: (Laughing) Alright. I just have to ask one thing about this person. Is he a friend of a famous writer? (Pause)
MIKE: Yes, a famous writer, okay. (Elias chuckles) Would it be ... because I have conflict. Iíve been thinking about this one for a long time, and whatís popped into my head would be someone from in the middle of this century, middle or more towards the beginning of the first half of this ... not this century, last century. Geez, I forgot weíre in the next century!
ELIAS: Ha ha ha ha! You are so very confused, you do not recognize the time framework that you are occupying any longer! (Laughing, and a pause) Yes, you are correct.
MIKE: Okay, so the first half. Alright. Would this individual be the only individual where I would be able to find a photo? (Pause)
MIKE: Yes, okay. Cool! Alright, I will investigate, and I will be more efficient this time than I was with my other focus! (They both laugh) Alright, speaking of that other focus, I would like to know, did David/Mylo participate in my Stefan focus? (Pause)
MIKE: Was he one of the younger boys I seduced? (Laughing, and a pause)
ELIAS: No, but I may express to you that the individual is privy to that information.
MIKE: Okay. Was he one of my colleagues, a writer friend, or was he like a friend of one of the boys that I messed around with?
ELIAS: A friend.
MIKE: A friend of me or one of the boys?
MIKE: Both, okay. Alright, let me see ... oh yes. Joseph, my New Zealand focus. I didnít connect this at first. Every now and then I get the acting bug, and Iím understanding that all aspects of essence are contained within each focus, and I can understand that the acting thing can be part of my own creativity. However, Iíve connected with that sort of drive that I have as being something connected with him, and at the same time that I got that acting thing, I was getting the urge to really, really, really want to act in this new movie theyíre making, the new Star Wars movie, and I heard on the news that theyíre hiring a lot New Zealand actors, and I was wondering, did he get a job acting in that movie? (Pause)
ELIAS: No, but has created the attempt.
MIKE: Created the attempt, okay. Alright, I have one more focus question, as far as I go. The future focus I have with our friend Opan, where Iím married to him, my focus does something with trees. I donít know what it is he does with trees. I donít even know if I could call it an occupation, but he does something with trees, and I donít know what it is, and I was wondering if you could tell me what it is. (Pause)
ELIAS: Yes. This individual tends to these trees, and also creates an action of extracting an element from the trees to be producing of an edible substance.
MIKE: Oh, interesting! Also, is he Milumet? And number two, does he ... while heís doing this, does he talk with the trees? (Pause)
ELIAS: The alignment is not Milumet. But you are correct that the individual engages an interaction and communication with these trees, yes.
MIKE: Okay, alright. I have a couple more questions for myself, but I will ask them afterwards because I have to ask these for Gina ... well, I donít have to. I want to ask them for Gina.
Number one, sheís in a totally confused state right now. One of the things I know she would really like some input on is, which direction would be the most efficient and the direction with the least conflict for her Ė if she were to be staying where she works, or following up the opportunity she was given from her friend Craig, or to completely stop the line of work sheís in?
ELIAS: I may express briefly that within the present situation and what she is creating presently, she may be continuing to perpetuate an uncomfortableness in the situation that she is participating within in this location presently or this occupation presently.
In this, as always, it be her choice what she may be engaging or which direction she may be moving into. I shall merely express that within the probabilities that she is presently engaging, continuing to be engaging the activity in the particular work space, so to speak, that she occupies presently shall also continue in conflict, for within her present state of creation, so to speak, in creating her reality, she is participating in perpetuating the action which is occurring.
This is not to say that she may not discontinue that action, but I shall also express that in your terms of likelihood, so to speak, the potential to be continuing in this type of conflict presently holds greater probability than the discontinuation of the conflict.
MIKE: Okay. She was presented with an opportunity to do a similar line of work with the friend of hers named Craig. Now, she hasnít gotten hold of him to see if his offer was really sincere. However, it does hold the potential, possibly, to be opening up the avenue of doing the same work with someone else, but I think she would like to know whether or not that would be something more efficient and less conflicting for her to do right now.
ELIAS: I shall not express more efficient, but it may be less conflicting. What she is creating presently is efficient, but it is also conflicting. What she may be engaging elsewhere, so to speak, may be less conflicting.
Let me also express to you, offer to her my suggestion that she allow herself a moment of quietness and relaxation, that she may allow herself an expression of clarity within her own impressions and intuition concerning this action.
ELIAS: I am greatly encouraging of her to be following self, and not continuing to be doubting of self in the franticness of the need of confirmation or direction from outside of self.
MIKE: Okay, alright. Okay, is there anything else I could pass on to Gina? Because I really hate seeing her like this.
ELIAS: Once again, Mikah!
MIKE: I know, look to self, and I know she knows that! But what issues specifically need looking at?
ELIAS: I may express to you that I wait, in the context of your linear time framework, for her movement in interaction with myself, in her expression of willingness to be listening and not distracting.
MIKE: Okay, alright. I have a couple more questions for me. This is one I wanted to ask you a couple of times ... no, wait. Hold on. Iíll ask that one last. This is the one I want to ask you. You told me youíd talk to me about it later in another session, and I hope you have time to at least start it with me. What is it that I was moving myself into an awareness of, and which we talked about briefly, when I asked you whether or not I was a projection of Stefan? What was I opening the doors to?
ELIAS: Allowing yourself to objectively view self more comprehensively. This is the action that I have been speaking to you of this day, in turning your attention to self. In viewing other individuals or other focuses, you allow yourself to view aspects of yourself through what you view as another individual, and this allows you temporarily, metaphorically speaking, to distance yourself from the intensity of viewing aspects of self within self. As you allow yourself this type of interaction, you also offer to yourself insights, in a manner of speaking, concerning yourself.
MIKE: Alright, okay. Alright, I have another question, and I will completely understand if you shoot me down on this one. I asked you a long time ago about that line of probabilities in which an offshoot of one of the choices would be me switching primary aspects of self, and what were those qualities that were latent in this aspect which are not so latent in those aspects. Well, (laughing) with me looking at everything else except at me, here and now, what are some of the creativities that I have yet ... well, not yet. I donít find myself to be a very creative person. I can see the writing part and I can see the speaking part, and you telling me and me knowing that thatís a latent part of me helps me understand why, sometimes, when I do the writing or speaking thing, I get a little fuzzy, because I can feel, I guess, the other aspects switching and interchanging. But what are some of the creativities not latent in this aspect of myself?
ELIAS: In the aspect which is not the primary aspect yet?
MIKE: No, in this aspect of me which IS primary.
ELIAS: And you are wishing for an identification of non-latent creativity, which I have already expressed to you!
MIKE: Which is what? Remind me! (Laughing)
ELIAS: We have been speaking of this, this day.
MIKE: Yes, but I thought that was part of my intent.
ELIAS: These are also your expressions of creativity, which IS the expression of your intent!
MIKE: So youíre saying that the surface creativity that is part of this primary aspect of self is to be having different points of view and bringing it and conversing and all that stuff we talked about?
ELIAS: Allowing yourself the freedom of exploration in the expression of different and unusual viewpoints, so to speak. This is QUITE a creative expression which is NOT latent within this primary aspect!
MIKE: Okay, so just for my own logic here so I donít confuse myself later, say I switch primary aspects, like number 23, and he comes ... and I come and ask you the same questions, you wonít be telling him the thing about having a different point of view?
MIKE: You would be telling him whatever else it is that heís surfacely creative with?
MIKE: Okay, alright.
ELIAS: It is not he. It is YOU.
MIKE: Yes, I know. I slipped!
ELIAS: Ha ha ha ha! (Mike laughs) But you are correct Ė different aspects of you express different overt qualities and different latent qualities.
MIKE: Okay ... alright! (With a tone of exasperation, and Elias chuckles)
Number one, Pat Ė you told me I have eleven focuses with him, so maybe thatís why I use him a lot as my imagery, because thereís a familiarity with him. But heís in my dreams an awful lot, or at least the imagery of him is. But in this specific dream ... and thereís usually no conflict with him in my dreams. But in this specific dream, I was trying to direct myself and Gina, and I think the kids, out of whatever house we were in or something, because we were all afraid of Pat. He was using some sort of like witchcraft or something, and he was creating like thunder and lightening around the house, and he was coming to get us or something.
Itís real fuzzy for me, but the issue of being fearful of him in the dream was a real stickler for me, because Iím not fearful of him. There are definite issues with him, but I donít fear him, so I think maybe thatís why the dream stuck out in my head, and I was wondering maybe for some insight on that dream.
ELIAS: Very well. I shall express to you that you have chosen to be presenting imagery to yourself in this manner to be gaining your attention in the expression of duplicity, in association with this wave in consciousness which is addressing to the belief system of duplicity presently.
In this, you participate with this individual in your dream imagery and present the individual in a threatening role, or influencing in the expression of fearfulness, as you are continuing to engage in action in relation to your interaction with this individual to be offering yourself what we may term to be a stop-point momentarily.
This imagery is an expression in the recognition of the movement in duplicity presently, and the strength of that belief system and all of its aspects, and how that belief system intertwines itself into all aspects of your focus and all of the expressions of your focus.
In this, the individual has been presented previously within your imagery as a facilitator of a stop-point within yourself, that you may allow yourself to be examining what you are creating or movement that you are participating within.
This particular imagery has been created in extreme to be gaining your attention in association with this belief system of duplicity and its affectingness.
MIKE: Hmm. Interesting. Okay, let me see. I have about five more minutes, but I have two or three more questions.
One, as youíre talking, Iím busy thinking about that other focus where I can find a photo of myself. Ray Bradbury comes to mind. Would he be the author, the writer?
MIKE: No, okay. Argh! Alright....
ELIAS: Ha ha ha ha!
MIKE: (Laughing) Let me see. I have two friends, and one I havenít talked to in years. Heís been in a lot of my dreams also, but we can talk about that another time. Iím more interested in ... his name is Anthony. Iím more interested in his family and alignment. (Pause)
ELIAS: Essence family, Sumari; alignment, Vold.
MIKE: Vold! Wow!
ELIAS: Ha ha ha!
MIKE: Okay, and my little friend Christina. (Pause)
ELIAS: Essence family, Milumet; alignment, Borledim.
MIKE: Borledim. Wow. I wouldíve figured Sumafi or something. Hmm!
Okay, one more Ė my friend Kim. I asked you about her a while ago, but I never got her essence family and alignment. (Pause)
ELIAS: Essence family, Tumold; alignment, Zuli.
MIKE: Zuli! Okay, alright.
Geez, I wish I had more questions! (Elias chuckles) Iím usually going over, and now Iím going under. Alright, I think thatís it.
Oh! I can ask one for Vince Ďcause I know he was real curious about something. We did a meditation one day, concentrating on his essence name, and he got the image of a bunch of people surrounding him when he was about ... he got the impression of the age of like a teenager, an older teenager, fifteen or sixteen or something. It was at night, and they were surrounding him, chanting his name and holding torches. And I was wondering what that was, what focus that ... like what time framework, what ... yeah. (Elias chuckles and Mike laughs) I donít even know what Iím asking!
ELIAS: (Chuckling) I shall offer to you a time framework that you may be investigating together, if you are so choosing, of 1500s.
MIKE: Okay, and why were they chanting his name? I asked him if it was like a negative thing, like if they were going to burn him at the stake or something, and he felt it was like they were happy.
ELIAS: It is an expression of ritual.
MIKE: Of ritual, okay. Was his name Vynlar? (Pause)
MIKE: Yes. Aha! Interesting! Okay ... oh yeah! I have another question for myself. Number one, I know I have a focus with the name Mikah, so Iím not even gonna ask that. But the one I am most curious about ... because I have a total fascination with meeting and seeing other focuses of myself. So Iím wondering, do I have a focus where I share another focus with myself, as a family member or in marriage or something? (Pause)
ELIAS: Yes, as family members.
MIKE: Family members, okay. Alright, I have one more question. I just need validation on a focus, and I keep forgetting to ask you about this one. Do I have a focus as a Shao-lin monk? (Pause)
MIKE: Yes. Aha! Okay, alright. I think that will be it, unless there is something else you would like to be informing me of that I am unaware of? (Elias chuckles) Then I shall say goodbye, and thank you very much once again.
ELIAS: Very well!
MIKE: Iím anticipating your presence!
ELIAS: Ha ha ha! And I also! (Chuckling, and Mike laughs) I express to you that you hold enough information this day to be assimilating, and I shall continue to be encouraging of you and expressing energy with you. (Chuckling)
MIKE: Thank you very much!
ELIAS: You are quite welcome. I express to you this day, in great affection, au revoir.
Elias departs at 2:14 PM.
(1) Vicís note: This is an addendum to session #657, and is an excerpt from session #796. I am transcribing it out of order because it is directly related to a concept that was discussed in session #657.
Tuesday, March 13, 2001
Session 796A (An Excerpt)
Addendum to session #657
Participants: Mary (Michael) and Vicki (Lawrence).
VICKI: The only other thing I really want to talk to you about today is a completely different subject matter, and it has to do with this concept of how we interact with our perception of another individual.
ELIAS: Very well.
VICKI: More than a few people have written to me and expressed confusion regarding this concept, specifically in the area of not understanding if they are in actuality creating that individualís reality. And then yesterday, I worked on a transcript in which you offered an analogy to Mikey about a kid spilling some liquid on the floor, and you told him that in actuality, he spilled the liquid on the floor.
So, Iíve been thinking about that, and Iím not quite sure how to respond to these people, and Iím not quite sure for myself how this works. If Iím interacting with a kid, and he/she spills liquid on the floor, Iím actually spilling the liquid, according to what was said in that transcript. But then again, Iím not creating that individualís reality, correct?
ELIAS: You are correct.
VICKI: Can you explain that to me?
ELIAS: Very well.
Let me express to you, Lawrence, as I have offered previously, you manifest within a physical dimension and reality which is extremely intricate. It is highly efficient, and it is also highly precise.
Now; you are correct Ė you do not create one moment of any other individualís reality. Neither does any other individual create any of your reality. But as I have stated to you, you do not participate in this physical dimension singularly. There are many, many, many essences which focus attentions and manifestations in this reality also. Therefore, each individual that you encounter objectively is, in themselves, another focus of essence. It is an actual, physical manifestation of another essence.
Now; in this, as you encounter every other individual within your physical dimension, what you encounter is the energy of that individual, and upon the reception of that energy, you create a projection of that individual through your own perception. Therefore, you create your own likeness of that individual through your own perception.
Each of you individually projects energy. That energy is received or blocked by each of you from each other. In moments that you receive energy from another individual, what you create is a translation of that energy expression. You filter that energy expression through your own individual associations, through your own beliefs, through your own assessments of self, through your own expectations, and you project outwardly through your perception an image and actions.
Now; that image and those actions are directly associated with the energy you have received from the other individual, but they are also influenced through your perception.
Therefore, we may incorporate this example that you have offered.
One individual may be, in your terms, spilling the liquid upon the floor. They are creating an action. They are creating a choice. They are projecting energy in a specific manifestation. That energy is projected outward, not necessarily directly to one individual, but merely projected outward.
You, as an individual within physical proximity and interaction with the other individual, receive the projection of energy. Once receiving the projection of energy, you filter that energy through many different avenues of communication within yourself, and project it outwardly through your perception and create a very similar event. It may not be identical as an event, but it may be quite similar.
Therefore, the individual creating the action creates an action of spilling the liquid. You create a very similar action in your projection of that individual through your perception.
Now; at times, you may be receiving energy from another individual, and you may translate it quite differently, and therefore your projection of the event that has occurred in relation to another individual may be quite different from what the individual has created, and therefore your perceptions shall be expressed quite differently. What you view shall be very different.
At times, you do not receive the energy that is projected by another individual. You block, and in this situation, you may create a VERY different perception or creation of reality than the other individual.
VICKI: Yeah, Iíve had that experience! (Laughing)
ELIAS: Let me express to you, Lawrence, there is an interplay of energy between individuals. There is a direct projection and reception of energy between individuals. But the actual physical manifestations of any interaction is a creation of each individualís perception.
The direct interaction between yourself and any other individual is in energy expression, not in actual physical manifestation. The physical manifestation, the physical projection, is created by you, by the individual, through the mechanism of your perception.
VICKI: So, when I observe somebody spilling a cup of liquid, I am in actuality creating that, but the other person is also projecting the energy of that physical act.
ELIAS: Yes, and may be creating that physical act, and you may be creating a perception closely associated and quite similar to what they are creating.
VICKI: So, in reality, both individuals are creating the act.
VICKI: Thatís hard to understand! (Laughing)
ELIAS: Many times your creations are quite similar. Therefore, you may express to each other that you view the same event, that you view the same action or the same object. You may describe aspects of your realities quite similarly, or what appears to you to be the same, for you are allowing yourselves, in many moments, to be accepting the energy of the other individual, and not tremendously coloring that energy through your own communications and associations. Therefore, you allow yourself to be creating a very similar expression to what the other individual is creating.
This also offers you the explanation of why you shall be surprised at times at what another individual may be creating, for your expectation prior to the creation of the other individual may have been different. But within the moment, you may be allowing yourself to receive the energy expressed by the other individual, translate that through your perception with little distortion, and therefore create a very similar projection through your perception as that which has been expressed by the other individual.
VICKI: And I take it that this is the way it is most of the time.
VICKI: Thereís a similarity in all of that.
ELIAS: Yes. You are not creating tremendous difference in the expression through your perception from that which is being projected by the other individual.
You shall hold an awareness objectively in the moments that you are influencing and interfering with that energy expression, for you shall view the difference of expressions. You shall allow yourself an awareness of the vastness of difference between your perception of an action or an event and the other individualís perception.
VICKI: Okay. I guess part of the point here, though, is to remember that you are in actuality creating that action.
VICKI: And thatís the hard part! (Laughing, and Elias chuckles) Okay, I think thatís about it.
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