Thursday, October 05, 2000
ďThe Mechanism of PerceptionĒ
ďDiminishing the Beast of FearĒ
Participants: Mary (Michael) and Daryl (Ashrah).
Elias arrives at 4:41 p.m. (Arrival time is 15 seconds.)
ELIAS: Good afternoon!
DARYL: Hello. (Elias chuckles) Well, here we are again!
ELIAS: Quite! (Chuckling)
DARYL: So basically, today I want to review some of the areas that weíve been discussing recently, and I also want to say that I have a sense that perhaps Iím looking for some kind of information, but Iím not sure of what that information is. So, if you have something that you think would be helpful to me that Iím not asking you directly, feel free to throw that into the mix too.
ELIAS: Very well. (Chuckling)
DARYL: Okay. The first thing is, we were talking last time about being in the now and turning attention to self, and I wanted to talk to you somewhat about my inner dynamics. Iíve talked to you somewhat before about feeling like there were kind of two areas. Itís like I put my attention in one area, which I would describe as being kind of inside the energy entity, and thatís when Iím kind of really lost in the fear and nonexistence. Then thereís another area where Iíve felt like I was more outside of that, although not completely outside, and I have more of a sense of self.
During the times when Iíve been trying to learn about turning my attention to self, the second area is where Iíve been directing my attention to, because I feel like thatís more myself, although Iím aware that actually all of it is myself in different manifestations, but in terms of trying to keep my attention with myself, that seemed like a more productive area.
Yesterday I was reading a transcript, and you were talking about turning attention to self and considering what one is experiencing in thoughts and emotion, and you also mentioned intellect and intuition, and I donít know if I distorted what you said or not, but you kind of said something about perception, that these make up your perception, and when I read that, within me something said ... I kind of said, ďOh, perception Ė I know where that is, I know what that is,Ē and I went to an entirely new place within me.
These areas all have kind of spatial places in my head, like one is in the upper right, and one is my left part of my head, and then this new part that is my perception is in the center towards the back, and I felt like it was a place Iíve never been before, and it was like it kind of encompassed the other two, but it was like further back, kind of like a perception of my perception.
Today I can still go there, although it seems a little less distinct, but I also get kind of a bittersweet feeling from being there, and in conjunction with that, I also had a dream last night that Iíve had many times before, which seems to me to be the same thing. I live in an apartment, and Iím looking for another place to live and arranging for a second place to move, and then I realize that I actually own a house that I havenít been living in, and I realize or I think, ďOh, I should go live in my house, itís my house,Ē which to me all has to do with self.
So, I guess Iím trying to understand whatís going on and what this represents, and if itís just imagery or if itís Ė I donít know Ė more to do with how I operate in terms of my perception inside, and when I am turning to self, if the most efficient way for me to do that is to seek out the third place that I discovered yesterday, as what I think of as a point of perception. Do you understand what Iím expressing?
ELIAS: Yes, and I shall offer to you that what you have presented to yourself is an identification of your own movement, also validation to yourself, also a new or different awareness of self, opening to more of your periphery, and you are also offering yourself imagery. Therefore, all of these elements that you have presented within your questioning are all aspects Ė not one or another Ė of your movement presently.
In this, you present yourself with imagery in the dream formation and translation, which Ė you are correct Ė is an identification of a new recognition, that you have been previously, in a manner of speaking, compartmentalizing different expressions and aspects of yourself.
You are categorizing certain aspects and movements of yourself, and in this, as you view yourself to be creating new movement, you also create a new category or a new compartment, which is symbolized in the imagery of the movement from one apartment, which is familiar, to a new apartment. But your attention is diverted in a recognition that it is unnecessary to continue to present yourself with the new apartments or the new sections of yourself, for you already possess a home, so to speak.
This is the symbology of the encompassing aspect of you Ė that all of these compartments, all of these sections of you are contained within the whole of you.
In this, you have offered yourself an identification in a continuation of some familiarity, for you identify a new aspect, so to speak, of yourself or of your awareness that you assign a physical location, but this offers you an establishment of this aspect of you as an actual thing in reality, not merely an abstraction in concept.
DARYL: Because I can feel it physically.
ELIAS: Correct. Therefore, it offers you an opportunity to be presenting yourself with a validation of its reality.
In this, you have allowed yourself to be opening through the trigger in association with perception.
Let me express to you, Ashrah, I offer information repeatedly concerning this subject matter of perception, for I hold an awareness that within each individual, this is in actuality a foreign concept, and therefore, although it partially may be assimilated or it may be understood partially intellectually, it is not being incorporated into an understanding of reality.
But as I continue to draw your attention to this mechanism of perception, you also respond in allowing yourself more and more familiarity, to the point that the unfamiliarity of this subject becomes less important than the curiosity and the motivation to become familiar with this subject, and that is the point in which you create a movement.
Now; in this situation, you have recognized that the identification of perception is a mechanism. It is a type of function of you.
Therefore, you also create physical imagery to be identifying of this in assigning it this physical location, for you hold an awareness that perception is not the entirety of you. It is not the all-encompassing identification of you and of your expression of consciousness. But it IS the functioning mechanism or tool which you incorporate in this particular attention to be creating of your reality.
In a manner of speaking, the perception may be likened to the instrument that produces the music, or the brush and the paint that creates the picture. They are the instruments that create the product. The product is your reality. The instrument that creates that is your perception.
Therefore, it is not the identification of you in the whole of you, but a tool that you incorporate within each attention, and each attention holds a different perception. The function of that tool is created differently in each attention.
This be the reason that each of your focuses is not created identically, for each holds its own instrument of perception, its own tool for creating its reality, and in this, you are allowing yourself more clarity in your recognition of the identification of perception.
Now; as to your questioning Ė of shall you be moving into this new area in difference to the established areas within you that you are familiar with in your identification of you Ė I may express to you that you may view it to be quite beneficial and purposeful to allow yourself to be moving in your explorations of self through this avenue, this new incorporation of this new center, so to speak, for in allowing yourself to be moving your attention into this new area, you are allowing yourself to move with less obstacles and less automatic associations.
The familiarity of the other two positions of you also hold familiar associations, in which your beliefs and the dictates of your beliefs Ė which influence fears Ė have been established and have created some expressions of footholds. Therefore, in moving your attention into this new area, you also disassociate yourself, in a manner of speaking, with the intensity of those footholds.
DARYL: Thatís how Iím experiencing it. Itís hard to describe, but itís like clearer there. Itís not that I canít see the other stuff; itís that I see it differently. Iím not enmeshed in it like I was.
ELIAS: Correct, for this allows you a new perspective in your perception, and in that movement, you allow yourself a wider view, and you also allow yourself to more clearly identify the dictates and the influences of the beliefs that create the aspects and expressions of fear within the other areas.
But figuratively speaking, in this new area, you are outside of the grip of those influences and may allow yourself to view them differently, which also not merely reinforces your trust and acceptance of yourself, but allows you to be dissipating the intensity and the reality of the expressions of fear, as you view them to be farther removed from you and smaller than they have appeared previously.
DARYL: So thatís pretty exciting! (Elias chuckles) So, in terms of thinking of it as kind of a point in space, it is helpful to turn my attention there as opposed to turning it to the familiar places.
DARYL: It kind of like gives me a focal point or something, instead of drifting back towards the familiar, which I can tell already that thereís a certain pull back to the old way.
ELIAS: Quite. This is a familiar action that you have created, and it is not merely familiar, but it has also become comfortable, for in that familiarity, you have created a movement of predictability, and this offers you ... although you may experience uncomfortableness in some aspects, there is also an experience of safety in the familiar.
But you hold a very strong desire to be moving outside of this familiar, for your desire moves in the direction of allowing yourself to be creating less obstacles and more freedom. You have become weary with this expression of constraint, and therefore, you are moving into the allowance of the expression of freedom.
In this movement, you also quite objectively recognize that the familiar expressions are quite strong, and that you automatically gravitate to those familiar expressions. Therefore, within yourself, you have deemed it necessary in this now to be presenting yourself with a strength of imagery, which manifests in an actual focal point that you may physically identify.
This holds your attention. It offers you an objective ďthing,Ē so to speak; not merely a concept, not merely a thought, but a construct of solidity that you may allow yourself to concentrate your attention upon, and therefore allow yourself less distraction.
You also fascinate yourself with the presentment of newness Ė elements and expressions that you may explore Ė for you incorporate within yourself a natural expression of curiosity in these types of designs. This serves you in being helpful in holding your attention.
Therefore, you have presented yourself with a new area of discovery, one in which you have already created an expression of curiosity within yourself concerning this new area, which provides you with a strength in motivation to be holding your attention in this new area and exploring what you may offer to yourself through this new area, and therefore diverting your attention from the strength of the familiar.
DARYL: And it does seem like what Iíve created is perfectly suited to motivate me and get my attention to go elsewhere. I donít know Ė itís very interesting to me that we each know ourselves and kind of exactly what will captivate us.
DARYL: I know....
ELIAS: Ha ha ha ha! Quite efficiently!
DARYL: Itís getting my attention, and I donít know Ė itís exciting!
ELIAS: Ha ha ha!
DARYL: I wanted to ask you, in conjunction with this, about three days ago I woke up several times with the same dream imagery, and I have no objective memory now at all what the imagery was, but I was quite sure that I had accomplished a very large subjective movement that had represented quite a change, but I wasnít sure what it was, and I wonder now if that was the subjective movement that preceded the subjective change.
ELIAS: It is not necessarily the subjective movement that preceded the objective movement, but you are correct in your recognition that it is the subjective movement that is in harmony with the objective movement.
DARYL: Okay, so there is a connection there, then.
ELIAS: Quite; yes. But one is not occurring first, and the other following. They are both moving in harmony with each other simultaneously.
DARYL: Yeah. I guess it just seems, with the linear time thing, that one is preceding the other. Okay. ĎCause I wondered what was going on, Ďcause I went, well, something real has happened, but then I couldnít tell what, exactly. I just knew something had happened. (Elias chuckles) Something had changed.
ELIAS: And you present yourself with the objective movement in similar manner, which is satisfying of your thought communication and your feeling communication, in identifying that you are creating this new expression of movement.
DARYL: Okay. Well, I must say, Iíve been doing a very good job ... if I want to bring duplicity into it! (Laughing)
ELIAS: HA HA HA!
DARYL: Iím really accomplishing there!
ELIAS: And I shall be quite acknowledging of you that you are acknowledging of yourself! Ha ha ha!
DARYL: (Laughing) Okay. I also wanted to talk to you about the process Iíve been going through of dropping the veils of separation, because Iíve also been trying to understand my imagery in that, and Iíve had this understanding that within the energy, or what I do or have done in the past ... and I donít know exactly what Iím gonna do now, but that I project my energy out and try to form kind of like a thickness and a barrier between me and the outside to protect myself.
And Iíve come to wonder if within the process of dropping the veils, that Iíve encountered the same thing Ė I feel threatened, and then I project my energy to block what I feel is threatening me, even though itís actually myself. But that is actually ... Iíve been blocking my own air, and thatís the imagery Ė that Iíve been setting up something to protect myself from myself, and trying to block myself from coming into myself. Is that correct?
ELIAS: Yes, you are correct, and I may express to you that it moves in similar manner, in relation to yourself or to what you identify as outside of yourself. In the moments and the action of projecting energy to be functioning as a shield in protection of yourself, in actuality what you are creating is a reinforcement of the isolation, which reinforces the fear.
DARYL: Okay. I was also wondering if in the dream state, I was learning something similar to what Iíve been doing objectively, in terms of turning my attention to self rather than the outside ... or so to speak, the outside.
DARYL: And as I learn that, then I become kind of centered within myself and trusting self and ... I donít know. Itís the same thing that Iím doing in objective reality, like Iím kind of coming from a new base. I guess in your analogy, itís kind of like the center of the Ferris wheel.
DARYL: And in turn, that allows me to drop the veils of separation further without feeling totally freaked out.
ELIAS: Correct, and eliminating many of the expressions of threat.
DARYL: Okay, Ďcause I have noticed that objectively Iím getting the sense that there is less separation. I feel, within essence ... I donít know, I just feel closer to what I think of as the rest of me, like the space between me and everything else is diminishing.
In this, as you continue to allow yourself to be experiencing and realizing the lack of separation within self, this creates an automatic byproduct in which you become more and more aware of the lack of separation between self and all that you perceive to be outside of self, and in this, you create what we have expressed previously as a type of domino affectingness, in which as you perceive less separation, there is less of an expression of fear.
You create less of an expression of protection and shielding, for you become more aware that it is unnecessary to be shielding yourself from yourself, and as you become more familiar and comfortable with the lack of protection and shielding from self inwardly, so to speak, and create less separation, you also begin automatically creating less separation and less of a necessity for protection with regard to yourself and any aspect outside of self, so to speak, for you allow yourself the recognition that there is no separation in this either.
This is an illusion that you have created within this physical dimension, an appearance of separation. But in actuality, there is no aspect of the entirety of your reality that is not an aspect of you!
DARYL: Right. So I am accomplishing in that area? Itís hard for me to tell kind of whatís going on in the dream state, but Iím waking up less scared, and I donít feel like Iím running as much from myself in my dreams.
ELIAS: I am quite understanding and am acknowledging of you that you are correct, and I may express to you that you are offering yourself imagery in validation of what you are creating and your movement in relation to the accomplishment of your desire.
You merely continue partially to be suspecting of your assessment of your own movement, but you are also allowing yourself more and more of an acknowledgment and a recognition of your movement and your creation, and your allowance of yourself to be validating that you are accomplishing this expression of trust and acceptance of self and opening to your periphery ... and dismantling the beast of the fear!
DARYL: Yeah. Quite an obese beast itís been! (Laughing)
ELIAS: Ha ha ha ha! But much smaller now! (Chuckling)
DARYL: Yeah, especially when Iím seeing it through ... from further away or something, from a different angle.
DARYL: Now, is my objective reality going to start to change a little more? Because I realize from hearing what other people are doing that their realities are kind of getting a lot less solid, and mine has remained kind of fairly solid and consistent. Am I going to ... do you know what I mean? Am I going to start seeing differences objectively now?
ELIAS: I am understanding of what you are expressing, and I shall offer to you that as you are aware, this is your choice.
Within this present now, I may express to you that you are not creating this type of movement in the probabilities that you are choosing, for you continue to be moving yourself in increments in the action of dismantling this entity of fear. Therefore, you are not incorporating actions that may incorporate new expressions or new elements of fear.
DARYL: Okay, Ďcause I thought that I wasnít doing it Ďcause I didnít want to freak myself out, basically.
ELIAS: Ha ha ha! Which may be different terminology for the same type of concept! Ha ha ha ha ha! I may express to you quite similarly, you wish not to be incorporating MORE fear, and in this, you shall not be choosing presently to be presenting yourself with unusual and strange occurrences within your reality! (Laughing)
DARYL: Okay, but I would think that at some point, when it would be a little more of a matter of curiosity and fun, then that might start presenting itself more.
ELIAS: Yes, quite definitely. You are correct.
DARYL: Okay, Ďcause I know Iíve gone into the area of discounting self Ďcause Iím not creating similarly to other people in that area.
ELIAS: Ah! Once again, the creation of the similarities and how this creates the validation, and the creation of difference, which creates the threat. HA HA HA! And shall you not offer yourself the glorious expression of permission to merely create in the manner that you choose to create, and know that it is acceptable, without comparison? (Chuckling)
DARYL: That sounds like it might be something Iíd like to try!
ELIAS: Ha ha ha ha ha! Therefore, you stand challenged!
DARYL: Okay. Regarding the area of the center of the self, I want to check with you in that area, because my sense is that in terms of what you talk about in my concentration, I feel like I have lessened my concentration towards lack of acceptance and duplicity, especially regarding my orientation and some of my natural tendencies, and where I felt fairly concentrated on that for a long period of time, I feel like thatís decreasing. Is that correct?
ELIAS: Yes, you are correct, and this also is, in a manner of speaking, following a natural flow of energy in relation to the movement that you are creating, for it is unnecessary to be concentrating your attention in these areas and these expression to be forcing a natural flow. (Chuckling)
DARYL: Right. I feel as though Iíve kind of lost interest in giving myself a hard time about it.
ELIAS: Ah, and I shall be quite acknowledging of this movement! You have allowed yourself to become bored with this familiar expression.
DARYL: I think so, yeah. I mean, after 40 or 50 years of something, sometimes I do get bored! (Laughing)
ELIAS: HA HA HA HA HA!
DARYL: Okay. I also want to check with you about something else. Iím not sure if itís the same thing, but Iíve felt something that I would describe as sometimes a lack of enthusiasm and sometimes a kind of discontent, and yesterday it felt kind of like a sadness, and Iíve wondered what that is, and it has occurred to me that perhaps itís an expression of blocking my natural expression.
ELIAS: In a manner of speaking. I may express to you individually that at times you create this type of feeling, so to speak, as an expression of fatigue in creating tiresome actions. This is also an expression that moves you closer into the creation of the expression of boredom with other types of expressions.
DARYL: Okay. (Pause) So in a sense, Iím getting bored with blocking my natural flow?
DARYL: ĎCause I feel that this has to do particularly, maybe, with interaction.
ELIAS: Let me express to you, Ashrah, that you expend a tremendous volume of energy in blocking or in diverting your natural flow of energy. You project much less of an expression of energy in allowing your natural flow.
Therefore, in continuing to be expressing diversions of your natural flow Ė attempts to be fitting your expressions into similar manner as other individuals Ė or at times in actual blocking of your natural flow of energy, you are fatiguing yourself.
This is not merely exhibited in physical expressions of fatigue at times, but also is being expressed through other means of communications which are offered through thought and through emotion, and in the expression of fatigue, you create certain types of emotional expressions that move you or motivate you in the direction of discontinuing this type of action, and you become bored with these expressions.
You also are reflecting a very similar expression within your thoughts, (assuming a bored tone) in which you become bored with the concentration within thoughts, and the analyzation of certain aspects of your movement or your lack of movement, and your assessment of self, and your dissection of your beliefs in relation to your movement. And in this, you create these expressions of what [you] may term to be general feelings, which encompass your thoughts AND emotions.
These are the movements into boredom, with this continuous expression of output of energy in attempting to be moving yourself in alignment to those comparisons that you view outside of yourself, and in this boredom or movement into boredom, you also are creating a new expression of desire to be experimenting, in allowing yourself to express yourself in your own natural flow of energy regardless of the comparisons outside of yourself.
DARYL: Okay, Ďcause that seems to me to go with what I was just talking to you about, about the concentration and how Iíve decided that Iím not so very, very bad, and now Iím starting to move out of the rest of it ...
ELIAS: You are correct.
DARYL: ... and to move towards unblocking.
ELIAS: Yes, you are correct.
DARYL: Okay, great. Okay, Iíve also gotten some information in my reality, and Iíve gotten my own attention. I think it has to do with other focuses, and I want to ask you about that. One of them is, do I have another focus who is named Todd? (Pause)
DARYL: Okay, is this ... Iíve wondered if it was my focus in the American Civil War, or if itís one Iím not aware of yet.
ELIAS: You are correct. This....
DARYL: Itís the Civil War one?
DARYL: Okay, great. I get the information differently, it seems, when theyíre not of similar tone, and Iím just kind of beginning to understand, I think, what Iím telling myself. Another one is, Iíve wondered if I have a focus in the culture that is known as Anasazi, in the southwest of America. (Pause)
DARYL: Okay, and I got a name thatís kind of vague that seemed like Yulu, Y-U-L-U, a woman? (Pause)
ELIAS: Physical naming, Yulia.
DARYL: That would be Y-U-L-E-A?
DARYL: I-A. Boy, that was pretty good! (Laughing)
ELIAS: Ha ha ha ha ha!
DARYL: Is she also of similar tone?
ELIAS: Yes, you are correct.
DARYL: Okay, and this last one kind of came to me from the outside, but it matches with interests and things Iíve had during my life. I wonder if I hold a focus as a Jesuit priest. (Pause)
ELIAS: Yes, you are correct.
DARYL: Okay. Would that be 16th century, kind of at the beginning?
DARYL: Okay. The person who gave me this information indicated that I did something that was perceived as quite wrong and got myself into trouble.
ELIAS: (Chuckling) And you may be investigating of this information if you are so choosing. And I may offer to you, it matters not. All is merely a choice of experience, correct? Correct! Ha ha ha ha ha!
DARYL: (Laughing) Oh, that sounds like that would be interesting! (Elias chuckles) Okay, another interest in my life is an author that Iíve felt a draw towards, and I just saw a movie made from one of his works. Itís the writer, D.H. Lawrence. When I watched the movie, I really began to wonder, does this focus hold the orientation of soft? (Pause)
ELIAS: Of that individual?
DARYL: Okay, Ďcause I felt like there was a similarity in world views that drew me to him, and that that similarity had to do with the orientation of soft. Okay, is there any other reason besides world view that Iíd feel drawn to him, or is that basically it?
ELIAS: It is an identification of similarity in perception; not necessarily the similarity, so to speak, in world view, but in a recognition of similarities in not merely orientation and the expression of it through perception, but also in some expressions of philosophy and some expressions of personality which are familiar to you, and therefore within energy ring true, so to speak, within you.
DARYL: Okay. I also have similar feelings, although theyíre not quite the same, about the philosopher William James. Is there a similar dynamic there?
ELIAS: This is a recognition within you in association with philosophy Ė and a feeling, so to speak, which is a manner in which you associate and offer yourselves communication within your physical dimension Ė in recognition of what you may term to be the depth of the philosophy; not merely philosophy in concept, but philosophy in being. Are you understanding?
DARYL: Maybe so, because Iíve read a lot of philosophy, and he affected me quite differently. Itís that there is a lot of emotion behind his, and searching, and not so much of a dry, outside-of-self speculation.
ELIAS: It is not merely the presentment of abstraction in concept or theory, but the beingness of the philosophy and your association with that, and your recognition in similarity within yourself of that beingness.
DARYL: Okay. Thatís interesting!
ELIAS: This may more closely be associated with the expression of world view.
DARYL: Okay. Iím excited about the thing with Lawrence and the orientation and perception, Ďcause I really felt like I understood something new there, (Elias chuckles) something new about my draw to him that I hadnít ... and how it relates to me. I donít know how to express that, exactly. (Elias chuckles)
Okay, one last short thing is that for a period of time, Iíve had this condition in my fingertips where my skin gets rough and cracked and irregular, and it comes and goes, and I havenít really been able to figure out why it comes at certain times, and why it goes, and I wondered if you could give me a hint in that direction.
ELIAS: I may express to you that this physical manifestation is directly associated with an outward projection of energy in relation to your creation of tension or not tension.
ELIAS: Yes. For in this, you project energy to your fingers as a type of exhibition or physical gauge, in a manner of speaking, of your general expression of tension or the lack of tension, which may also be translated into expressions of anxiety or the lack of anxiety, and in the time frameworks that you are experiencing a holding of energy and more of an expression of tension, you create a physical manifestation within your fingertips. As you relax, you create less of the physical manifestation.
DARYL: Okay. Well, thatís interesting! (Laughing)
ELIAS: Let me express to you, in allowing yourself to be paying attention to your physical body and your fingertips, you may allow yourself to be noticing that your fingertips create physical evidences and indications of what you are creating within the entirety of your physical body, and in this, you may experience the exhibition of actual physical manifestations and feelings, so to speak, within your fingertips in conjunction with other aspects of your physical body. Your physical breathing is affecting of your fingertips, and shall create physical exhibitions of energy within your fingertips.
You may quite easily offer yourself an experimentation of allowing yourself to pay attention to your fingertips, and merely allow yourself to breathe Ė no specific type of breathing, no specific method, but creating merely ten breaths Ė and if you are allowing yourself to pay attention to your fingertips, you may also allow yourself to recognize and notice an actual physical feeling that you shall experience within those fingertips.
They are exceedingly sensitive as an indicator of many expressions of energy that you create throughout your physical body, and they are also extremely sensitive to the expression of tension.
Your breathing is extremely sensitive to the expression of tension, and shall alter in response to the creation of tension within your physical body. Your fingertips are quite responsive to your breathing, and in this, they also are an obvious indicator of tension. (Chuckling)
DARYL: Hmm! Who wouldíve thought that?
ELIAS: A tidbit of information! Ha ha ha ha ha!
DARYL: Thatís something I can play around with!
DARYL: Okay. Well, I guess itís time for me to go. I would say that this has actually been fun today! (Laughing)
ELIAS: HA HA HA! And I also shall join you in your expression of our encounter as fun, and I shall express to you my anticipation of future engagements of fun together! (Chuckling) I express to you tremendous affection, and a very playful au revoir!
DARYL: Au revoir.
Elias departs at 5:48 p.m.
© 2000 Mary Ennis, All Rights Reserved.