Thursday, February 15, 2001
Participants: Mary (Michael) and Joe (Holden).
Elias arrives at 11:05 AM. (Arrival time is 18 seconds.)
ELIAS: Good morning!
JOE: Good morning!
ELIAS: (Chuckles) How shall we proceed?
JOE: Imagination Ė what is it? How does it work? How is it accessed? What is accessed during these little mental exercises?
ELIAS: Imagination. Imagination is the expression of tapping into what is known within consciousness, channeling that information which is known into this area of consciousness that you recognize as objective awareness, and translating it into what is recognized and may fit within your understanding of your physical reality.
JOE: Okay. Are there parts of consciousness that are unknown?
ELIAS: In a manner of speaking, yes. For this is the nature of the action of consciousness, to be exploring itself and to be discovering and becoming. Therefore, if all is known, what shall be discovered?
Now; in this, let me offer a clarification. All that is created is known. But in the action of exploration, what is occurring is the on-going creation of new expressions. Therefore, what is newly being created and explored is not known, for it has not been. Are you understanding?
JOE: It isnít known because it hasnít been created within a dimension?
ELIAS: It has not been created within consciousness.
JOE: So in other words, consciousness has the ability to also create itself?
ELIAS: Yes. It IS creating itself continuously. This is the action of becoming.
JOE: Wow. So consciousness, all of consciousness, All That Is, not only is not in any way static, but is constantly expanding?
ELIAS: In a manner of speaking Ė in depth, not in space.
JOE: Okay. Now, when I was a kid, and even today, I have a very, very vivid imagination sometimes when I let it run free. I would read a book, usually on space or space adventures or something like that, and I would imagine myself in a spaceship flying around Saturn but not in a spaceship that would in any way endure ... you know, as you grow older and you learn the physics of space flight and the rest of it, not in any way that would endure an actual physical passage to Saturn. So where exactly was I going within consciousness? Or was I simply just creating that?
ELIAS: As I have stated, imagination is the expression of what is known within consciousness, and in this physical dimension you allow yourself to open to aspects of what is known within consciousness, what is already reality within consciousness, and you filter that information through layers of consciousness into Regional Area 1 Ė your objective awareness within this physical dimension Ė and you create a translation of that information which shall comply or fit within the design of this physical dimension.
This is not to say that what you have allowed yourself to tap into in what is known within consciousness may be literal to that expression which is known, but that you create a translation as you filter that information into this physical dimension; for all that you filter into this physical dimension, in a recognition of it objectively, is being translated into what is known in the design of this physical dimension.
Therefore, your translation in some manner shall comply with the blueprint of this particular physical dimension, and therefore it shall in some manner fit and offer you some aspect of objective understanding. For your understanding in this physical dimension Ė without the incorporation of this shift in consciousness Ė has been limited to the design of this physical dimension and what shall fit in relation to the blueprint of this physical dimension.
In example, you create what you define as an imaginative adventure in relation to a spacecraft and your travel within it. This is a filtration of information which is known within consciousness. It is translated within your thought process into a viable design in relation to your understanding and what is known in the design of your physical dimension, that if you are choosing to be traveling within space, you shall require a craft to accomplish that action.
Your science fiction, as I have stated previously, in actuality is closer to science fact than fiction, for all that is expressed within your science fiction is a translation in physical terms, objectively, of that which is known within consciousness.
Your encounters with extraterrestrials are actual encounters, but what is viewed is a translation into some expression that may be understood and comprehended objectively by yourselves.
Your myths, your legends, your stories of aspects of your reality that you view as fantasy and imaginative are translations of expressions that are known within consciousness. They may not be expressed in your actual physical dimension, but they are known, for they are expressed within some area of consciousness. They have already been created; they are known. And your engagement of imagination is your individual allowance to be opening to consciousness and tapping into different expressions that are known within consciousness, that are created and that are experienced. (Pause)
JOE: Does imagination ever enter into the area of the unknown? (Pause)
ELIAS: No. The expression of venturing into the unknown and the exploration of creation, of becoming, is recognized many times within your physical dimension through the expression of inspiration.
JOE: So we have an objective reality, and through imagination we basically have a virtual reality; so the virtual reality, the imaginative reality, is an unfettered mirror image of objective reality? But because it is imaginative, because it is a virtual reality, you can take a lot more freedoms with it, that sort of thing? Is that what you mean by ďknownĒ?
ELIAS: It is an allowance of yourselves to insert into your physical dimension and reality expressions that are known and created in other areas of consciousness. The translation allows you the potential to be inserting those expressions and actions into your reality in a manner in which the design shall fit. (Pause)
JOE: Okay, I think Iím hung up on this word ďknownĒ a little bit.
ELIAS: Within consciousness, actions of travel, in a manner of speaking, within space arrangements is known. It is already occurring. It is not yet occurring within the design of YOUR physical dimension, not in the manner which is expressed through the imagination of your science fictions, but the action of travel within space is occurring and is known. It is already created. It is already known within consciousness.
Now; in this, within your physical dimension, you understand and create a design of your physical dimension that incorporates mathematics and physics. Within the design of mathematics and physics, you associate travel around space, for you associate travel with vehicles and physical movement.
ELIAS: Correct. Therefore, your association in the design of this physical dimension is to be moving, in your terms, through or around space, not IN space. For you view space to be a thing, and you view yourselves to be things. You view your reality with the association of entities, and all that is created within your reality is also associated in some manner with physical matter.
Therefore, if you are traveling, there is physical movement incorporated, and some type of entity that shall create the movement, be it yourselves and your physical bodies, physical expressions of energy, or vehicles. Even that which you do not quite define as physical matter in relation to movement expresses some type of physical evidence of movement in relation to physical matter.
As example, energy of air movement creating what you define as wind. You may not associate wind as physical matter, but you offer yourself evidence of its movement through the expressions of physical matter. Therefore, there is always an association of physical matter in relation to your creations and your reality in this particular dimension.
Now; in this, as you allow yourselves an openness to consciousness and tap into what is known within consciousness in expressions of imagination, those creations may not necessarily yet be inserted into your physical reality. You may not have incorporated space travel and crafts in relation to your expressions of imagination associated with science fiction yet, but you offer yourself a recognition of the known creation of travel within space. You translate that into your objective awareness and thought processes, offering yourself the recognition objectively that these expressions are possible.
JOE: Yes, I think I can understand that, our TV shows and other things Ė ideas, books, Jules Verne-type things that pre-date the actual physical manifestation of submarines and that sort of thing?
ELIAS: Correct. If you may imagine it, it may be created.
JOE: But itís already known?
ELIAS: Yes. Therefore it may be created.
Now; the reason that you offer yourselves this expression of what you view as imagination is to be allowing yourselves the recognition that you may actually create these expressions within your physical dimension, that it is possible to be creating these expressions within your physical dimension. They are not limited to areas of consciousness outside of your physical dimension.
JOE: Now, let me ask you this. If itís known Ė and I think itís just this matter of terminology, but Iíd like to clear this up because I really am curious about this. Okay, itís known that space travel is possible, and itís known that undersea travel is possible, but in my own little private imaginings, Iím flying around Saturn in this spaceship, right? Now, this spaceship would be totally nonviable within the physical dimension that we know, that weíve created. It wouldnít hold air and the life-support systems wouldnít last, and all this kind of stuff. Itís my own little private spaceship on itís own little private adventure. How does that fit with what is known?
Iíve created this idea, this mental image based around a guideline of space travel, based around a guideline of what I believe Saturn was, but that little spaceship and those little adventures would seem to be mine and mine alone, and how does that fit in with what is known? Or do we have the ability to take whatís known and we just kind of articulate it to whatever it is that we want to play with? Does that make any sense at all?
ELIAS: Yes, I am understanding.
JOE: (Laughing) Iím glad you are!
ELIAS: (Chuckles) Be remembering, you are creating a translation. Therefore, you allow yourself to be tapping into what is known, and subsequently you create your own individual translation of that expression.
Now; let me also express to you that in creating your translation, you also insert into your general reality in this physical dimension Ė which is available to ALL participants in this reality Ė a potential, almost an expression of a suggestion of consciousness, which is offered into the area of the collective consciousness, the potential to be actually creating that expression that you now view to be impossible or not adequate to be sustaining travel or what you term to be life support.
For in creating your individual translation, you offer to the collective consciousness of your physical dimension the potential and suggestion for alterations to your physical expressions that are presently objectively unknown to you. Are you understanding?
JOE: I think so. So in my imaginative musings, Iím actually enriching or in some way expanding consciousness as a whole?
ELIAS: In relation to this physical dimension, yes.
JOE: Ah. So what is known is an idea, and within that idea thereís a total imaginative universe that can be explored?
ELIAS: There is what you may term to be an imaginative universe that may be explored in relation to this physical dimension, for within all of consciousness, it is already experienced.
JOE: Well, within all of consciousness itís already been experienced...
ELIAS: In some area of consciousness, what you imagine already is.
JOE: In other words, that little, basically non-usable, spaceship that Iíd been flitting around in in my mind already existed within consciousness?
ELIAS: In a manner of speaking. That exact craft that you incorporated within your individual adventures was a translation, not literal, but a translation of movement within consciousness that is already expressed in relation to travel and space. You designed that particular individual craft and that particular movement of its travel and your adventure; this is YOUR translation. But in creating that translation, you also offer a potentiality and a suggestion to the collective consciousness in association with this physical dimension for its actual creation in physical terms.
JOE: So all imagination offers a potentiality?
ELIAS: For actual creation in this physical dimension.
JOE: Boy, thatís a lot to think about there, my friend! (Elias laughs) Well, along that subject line, Iím going to have to wait and really study this transcript, because, my gosh, thereís a lot there.
ELIAS: (Laughing) Much to be exploring and playing with! Ha ha ha ha!
ELIAS: I have expressed to you, this is an extremely diverse and intricate physical dimension, and incorporates much more than you objectively realize in its potential to be explored and the potential for creation in relation to it.
In this, you are expanding that ability and potentiality in a more vast expression than you have in your terms ever previously with the insertion of this shift in consciousness.
JOE: On another note, I have a friend, Jim M. He was going to be at the last session here, but he couldnít make it. Can you give me his essence name and family and alignment and orientation?
ELIAS: Essence name, Hi-Fong, H-I-hyphen-F-O-N-G. Essence family, Vold; alignment, Sumari; orientation, common.
JOE: I donít know if I ever asked you Ė I donít think I did Ė but what is my orientation? I always have felt that it was common, but sometimes I kind of wonder if it may not be intermediate.
ELIAS: You are correct, common.
JOE: Elias, when you and I were instructors in England ... and I just wanted to play a little game of impressions with you, and Iíd like to give you my impression of what I got, and then you tell me if Iím correct or not.
ELIAS: Very well.
JOE: You were a tall dark-haired gentleman with a rather prominent nose.
JOE: Did I teach anthropology? (Pause)
ELIAS: In actuality, archaeology.
JOE: Okay, that answers those two. Each time we have a session Iíd like to just ask you about a couple of impressions. Iím trying to access these impressions on my own.
ELIAS: Very well! And I am greatly encouraging of your allowance of yourself to be exploring and investigating this yourself.
JOE: Well, Iím sure you know Ė I say it all the time, and Iím sure you realize how much I appreciate it Ė but if it wasnít for the direction that I kind of got as to which way to go for this exploration, it probably never would have been.
ELIAS: (Chuckles) Be encouraging to yourself, my friend, for you are allowing yourself to be paying attention to your impressions, and this creates practice that you may be allowing yourself a recognition of and the ability to listen to other impressions.
JOE: Remember the water-witch thing we talked about last time?
JOE: Did you know already that I would be able to do that?
ELIAS: Yes. (Smiling)
JOE: (Laughing) Damn! I knew it! (Elias laughs) Well then, as you probably know, it worked out very well. I was absolutely able to use the divining stick in exactly the same manner as the old professional dowser.
ELIAS: (Chuckles) And you are quite pleased with your accomplishment, are you not?
JOE: (Laughing) Yes, I am! (Elias laughs)
Now, I have another question along those lines. When I grabbed that stick and I started walking and I tried to imagine the water underneath, that water in my imagination showed up a very brilliant blue, and Iím wondering if you had anything to do with that?
ELIAS: I have expressed to you, my friend, that my energy would be present with you.
JOE: Okay, that answers that question then! (Elias laughs)
Elias, itís been a lot of fun, and really I have a lot to think about as far as this imagination, and Iím sure I will have more questions along those lines.
ELIAS: Very well.
JOE: This really is great fun.
ELIAS: Ha ha! And this is the point, my friend. (Laughs)
JOE: Well, look, Maryís on a constraint, and Iím pretty much out of questions because Iíve really got a lot to think about along the lines of this imagination thing. So again, as always, I appreciate it, and thank you.
ELIAS: You are quite welcome, my friend. I anticipate our next meeting and incorporating another conversation in fun.
JOE: (Laughing) Okay!
ELIAS: To you this day, accept my energy in encouragement, and I express to you, au revoir.
JOE: Take care.
Elias departs at 11:49 AM.
© 2001 Mary Ennis, All Rights Reserved.