tiles
PAUL: “Elias, in one of Jane’s books there is a reference – in the Oversoul Seven book (1) – in the valley of the Speakers – to these tiles that are imbued with sound and the ability to stimulate the inner senses through sound.
ELIAS: Ah! (Grinning)
PAUL: Could you speak a little bit about how sound might be used that way, or give some hints as to discovering some of those things?
ELIAS: I hold quite an affinity for this story, as I also hold interaction with its creation. These are, within this story, connections of reality within consciousness presented to you in a language that you may understand creatively. This is not imagination, for there is no imagination that is not reality! Incorporated into this information is information concerning your shift in consciousness. As your teacher (2) has instructed previously to be creating within a game of this city futurely, I also have incorporated this action with individuals presently to be creating of this city (3), for it exists already within what you view to be past and future. In this, you all participate in its creation. In the explanation creatively of this story, there are elements of reality that you have already created; and within the action of your shift, you shall be connecting with these elements.
There exists in reality these tiles. Not all hold the action of sound. Some hold the action of sound as incorporated by these essences known as these Dream Walkers, of Speakers. Some of these tiles hold abilities of telepathic events. Some hold emotional qualities. Each family contributes to the objectification of this city, and each family incorporates their contribution within these tiles and within the intent of each different family within this dimension. Therefore, these of the Speakers hold tones; for within the family of Sumari, their communication is through tone and sound, which may not necessarily incorporate language, although at times it may be translated into a language.
Within the family of Sumafi, of which this essence is, the Dream Walkers were identified as Seers. These tiles incorporated within your city hold thought. Therefore, within your objective action of touch to these tiles, you may present yourself with information beyond your present comprehension.
This individual (4) has accessed much subjective information within her focus and her creativity, which she has offered to you all.
FRANK: ... Elias, you mentioned before, on the question the gentleman had about Oversoul Seven, that you had participation in the co-creation of the book itself?
ELIAS: Much to your surprise! (Grinning)
FRANK: Much to my surprise! (Laughter) Can you expand on that, and also if you had any more involvement in other facets of the Jane Roberts/Seth material where you had a co-creation and involvement, which I expect you do?
ELIAS: Limited, in your terms. This was an interaction with another essence (Seth) quite connected within consciousness to this individual focus of this woman [Jane Roberts]. Therefore the interaction, for the most part, was exclusive.
Within the creation of this one written material (Oversoul Seven), this individual [Jane Roberts] shall have expressed to you all that your teacher (Seth) was not involved in its creation. (5) There was an awareness on the part of this individual of interaction of other aspects of consciousness. This was interpreted by this individual to be aspects of herself, of her own essence. In part, this is a correct assessment, but only in part; for within an interaction within this time period of this creation, you may view this essence of Elias to be comparable to the role of Cyprus. (6) You may interpret an interaction which was ongoing, in your terms, of this essence (Elias) and your teacher (Seth) within the creation of this written material. The individual physically focused was very aware that this material was not produced with objective awareness within herself. Therefore, she also held an awareness that this information was acquired, in her terms, from somewhere else; another interaction.
Now; I express to you that this one written element is important to you also, for this written material was a projection of now, and you may view the characters of this book (The Education of Oversoul Seven) as those in the same as the individuals which incorporate the pyramid action presently within physical focus, of these individual present: Lawrence [Vicki], Shynla [Cathy], Olivia [Ron], Michael [Mary]. They are your characters within this book. These are the same, within the four main characters originally, within the original initial scripts of these books. (7) The information incorporated into these books was a projection for now; for within this time period, you may understand the action of your shift and the information which has been offered with the intent of the Sumafi, to be delivering information to you of reality that you now may understand as not only a story.
FRANK: That’s why we’re here, right?
ELIAS: Yes. Therefore, this being answering of the tiles also, and the city, and the reasoning of the game of the development of the city with your teacher, and the development of the interaction in creating of this city within interaction of this essence also; for this is the reality that you have created, and that you are creating, and that is created.
In this, you have been offered information of Dream Walkers. You have been offered information of your city. You have been offered information of aspects of self that may be materializing temporarily as projections of yourselves to be fulfilling of certain actions that you choose. These individuals do not hold in your terms a beginning and an end, for they appear only momentarily within your existence of physical focus. This also is diagrammed within this book. Within this book also is offered information of the aspect of simultaneous time and your affectingness within past, present and future, and that there is no differentiation. This book offers you information that you may alter realities within what you view to be established past. It may change. It is no more solidified than what you view to be future, and that past may interact with future and skip your present, and your present is influencing of all, as all is present, for there is no past and there is no future. It is all now. Therefore, you may change your tiles.
I offer you also now, in expanding our information, a challenge – to be finding your tile. More have been added to this city within these individuals, and now you may challenge yourselves to create one. View your tile within this future city, which is reality. You shall find it; and you may view these tiles and you may share the image of these tiles as you recognize them and their function. You may access this within your dream state, or you may access this within your waking state. It is your choice; but you may access.
JIM: What happens when we find the tile? (Elias starts laughing) Is it a tile we can touch and tones come out, or....?
ELIAS: You shall express to me! ...
JIM: Oh, okay. I’ll create it!
ELIAS: ... which is that you find, for you shall be creating of that tile which is in alignment of your family. Therefore, you shall know its function and you shall know the design which is imprinted upon it.
PAUL: So the design of the tile is what we’re searching for in creating it? There will be a resonance that will allow us to recognize it?
ELIAS: Yes, for you may view your tile within your dream state and you may visually see this tile. You may incorporate subjective bleed-through into your waking awareness and you may see before you the tile, and you may also duplicate its design. You may merely create a drawing of its design, or you may create the tile! And as you create the tile, you may alter another tile within the city, as did Ma-ah. (Staring intently at Paul)
MIKE#1: Elias, after your request, I immediately got a vision of a hand pressing against a forehead, but not in like a visual term, and it feels like my tile already.
ELIAS: And what be your symbol? (Staring at Michael)
MIKE#1: The symbol that I can figure is ... help is the only word, aid is the only word I can think of.
ELIAS: Which translates into a figure, which you shall also connect with. Lawrence [Vicki], express [the] memory tile! (8)
VICKI: The memory tile is like a spiral. It starts in the middle, and it goes out like this.
ELIAS: This being an example of the image, the symbol that shall be upon the tile. They are all different. No two are the same.
MIKE#1: I’ll do mine!
ELIAS: Very good!” [session 185, June 21, 1997]
NICKY: “Okay. I’m going to go back to Rico again. He has symbols on his arms. They’re not tattoos, but they’re of the tattoo-sort. (9) When I first saw them, I was really attracted to them. It was like, ‘Oh my goodness! What do these mean?’ Well, he told me what they meant. It’s a family heritage type thing or something like that. Is there anything beyond that, that they might be meaning?
ELIAS: Look to one.
NICKY: Look to what?
ELIAS: Look to one of these symbols, and connect this to the city.
NICKY: To the city? I’m not doing real good on the city concept. I’m really trying, I really am! I know the idea about it, but I have a hard time connecting what I see. Like yesterday, I was out and I saw rugs that had symbols on them – dots, slashes, lines – and it was like, ‘I know what this is.’ I know, but I don’t know!
ELIAS: Think of the tiles.
NICKY: Specific ones or the tiles in general?
ELIAS: The tiles within the city.
NICKY: They would each be pieces to something, wouldn’t they?
ELIAS: The tiles within the city are holders of information.
NICKY: Okay. Like parts to a puzzle type of thing?
ELIAS: In a manner of speaking. They are each placed within the construction of the library and museum, and they are instruments to access information. Each tile is connected with an essence family and may be accessed differently.
NICKY: My goodness. That’s wide open territory for me. It’s like, where do I start? How do I incorporate this?
ELIAS: Allow yourself the connection with your impressions, and as you view these symbols that you hold a knowing of within you, you may be allowing your impression of what this symbol may be connected to as a tile, with which family, and what its meaning may be.
NICKY: Okay, alright. That could be fun, huh?
ELIAS: It is a part of the game! (Grinning)
NICKY: Well, that’s what I was experiencing yesterday when I saw all of these. There were maybe four or five different patterns. I thought to myself, ‘I don’t have any pen and paper on me so I can copy these.’ Then I thought, ‘Okay, I can look at them and study them, but what am I going to get out of studying them?’ Would first impressions be the thing to go with, not just studying them?
ELIAS: Correct.” [session 231, October 23, 1997]
VICKI: “Alrighty then! My question is, Ron has had an impression that of the tiles we’ve connected with, there are tiles in small groupings, and even though they appear slightly different visually, they incorporate the same action. Would this be a correct interpretation of his impression? (10)
ELIAS: Partially. There are different facets of these tiles, that the tiles incorporate a common action, but within different facets of these tiles, they incorporate subsets of the actions or specialities of that particular action. Therefore, if you are to visualize a particular tile, in physically connecting with this particular tile in a specific direction, the tile itself may change its appearance in response to the specific speciality of the action, which it shall focus upon. Therefore, although they may be one tile, each of the representations, each of the visuals, are accurate also.” [session 281, May 17, 1998]
JOANNE: “The last time we talked, we talked about my tile in the city, and I was so nervous that I cut you off when you were about to tell me something more about it, and I was wondering if you would continue.
(Vic’s note: reference session 444, August 10, 1999)
ELIAS: We were speaking of this tile and its insertion into this parallel reality and how you create probabilities within the now. We were also speaking of the imagery, and that which you have presented to yourself of the rock and the flower and the representation of this particular imagery.
Now; as you have translated this into a tile, the expression of the tile is the presentment of the actualization of events and actions within this physical dimension that appear to be impossible.
Therefore, as you allow yourself to become familiar with the functionings of these tiles, you shall avail yourself of information that as you encounter these tiles, they each express a particular action. They may be incorporated as what you may term to be a type of trigger for individuals that are encountering them, which as the individual creates an intersection or contact with these tiles, they also engage an experience.
This is the information that these tiles offer, not necessarily in the manner of delivering information in the direction that you are accustomed to. They shall not necessarily speak to you or offer to you verbal or written information, but allow you the opportunity to be experiencing the information.
I have expressed many times that you pay attention to experiences. You learn much more through experience than merely through the offering of information without the experience. This is how you have designed this particular physical dimension. Therefore, experience is key to this physical dimension.
In this, as you approach and engage each of these tiles, they offer any individual specific experiences to be offering information.
The information that this particular tile offers through experience is that which concerns the possibility of the impossible, the actualization of any element within your physical dimension that you view to be impossible, and this be the reason that you have created the imagery of the flower and the rock, for it appears objectively that it shall be quite impossible for a flower to be protruding from a rock. But this is the point of the energy which is projected within this particular tile, offering any individual that encounters it the opportunity to be experiencing the creation of any direction that they are so choosing that appears to be impossible and to be actualizing that impossibility, allowing you all the recognition that you do not hold limits or absolutes.” [session 447, August 17, 1999]
Library: find out more about Ron Churchman’s Tiles pages. 
End Notes:
(1) Paul’s note: Jane Roberts wrote a fictional book called The Education of Oversoul Seven (1974) that featured learning tiles. These tiles are found in a courtyard mosaic in the city of the Speakers in 35,000 B.C. They are used for educational purposes. These tiles, and the ruins of the city, are discovered in the dig of the Tellers in the 23rd century A.D. where people begin to unlock their ancient secrets.
Digests: find out more about Seth/Jane Roberts.
(2) Paul’s note: a reference to Seth/Jane Roberts.
(3) Paul’s note: a reference to the work of Seth/Jane Roberts and his dream city exercises with Jane Roberts’s ESP class in the late 60’s and early 70’s. This is described in detail in The “Unknown” Reality, (1977), Vol. 2, Appendix 16, session 711, October 08, 1974.
Also in Sue Watkin’s book, Conversations with Seth, Vol. 1, (1980), Chapter 10 – The Experiment Continues: Seth II, Mental Events, and the Birth of the City
Digests: follow this link for more informtaion on the city.
Elias has also offered information on this city and his own city exercise.
Exercises: find out more about the city exercise.
(4) Paul’s note: a reference to Jane Roberts.
(5) Paul’s note: Oversoul Seven is the lead character in a trilogy written by Jane Roberts: The Education of Oversoul Seven (1973), The Further Education of Oversoul Seven (1979), and Oversoul Seven and the Museum of Time (1984.) Jane states in her introductions to these books that she did not write them in conventional terms, but they were “delivered” in complete form via automatic writing.
(6) Paul’s note: Elias is implying here that he holds a teaching focus similar to Cyprus – another character in all three Seven books – who is Oversoul Seven’s teacher. In that relationship Cyprus has a wider focus and “remembers” more of his aspect selves than Seven does, as Seven is still “more” focused on his physical selves than Cyprus.
(7) Paul’s note: this session occurred in a small hotel room (106) at the Holiday Inn during the June 1997 Seth Network Int'l. conference in Elmira, NY. The people attending, myself included, were all in the midst of exploring the work of Seth/Jane Roberts. I had brought up the topic of Oversoul Seven earlier by asking a question about the sound tiles found in the City of the Speakers in the first Oversoul Seven book.
In this reply, Elias is saying that the four people closely involved in what he terms “the pyramid focus” – Vicki Pendley, Cathy McCallum, Ron Churchman, and Mary Ennis – are figuratively represented by the four main characters in the first Seven book – The Education of Oversoul Seven – Lydia, Ma-ah, Proteus, and Joseph. This was startling, even embarassing to those four when Elias mentioned it at the time (well three actually because Mary was in trance at the time and doesn’t remember much of what Elias discusses during a session.) Anyway, the connection went right over my head (and most everyone else’s present at the time) as we didn’t know that he was refering their essence names (Lawrence, Shynla, Olivia, and Michael.) At the time, all I connected with was the fact that Elias was somehow involved in the actual creation of the Oversoul Seven books.
The “pyramid focus,” at this time consisted of these four individuals – Vicki, Cathy, Ron and Mary. Shortly after this session, a “fifth point” appeared named David Tate. According to Elias, ... well this is one of those sci-fi concepts of his, so I’ll defer to the proverbial horses’s mouth.
Digests: find out more about pyramid focuses.
To finish this footnote, the four main characters in The Education of Oversoul Seven are: Lydia, Ma-ah, Proteus, and Joseph. Lydia lives in late 20th century USA, Ma-ah in 35,000 B.C., Proteus in the 23rd century, and Joseph in 17th century Denmark. All are focuses of Oversoul Seven. Their unfolding stories reveal an interconnected saga that embodies many of the main concepts in the information offered by Seth and Elias: probable realities, simultaneous time or “no-time,” a cycle of manifestation based upon “no-time” not “karma,” the eternal validity of the soul, we create our own reality, counterparts, the nine families of consciousness, the Dream Walkers, and the purpose of physical life as value fulfillment, to name a few.
| (8) Paul’s note: here’s a rendering of the memory tile. |  |
| (9) Paul’s note: Rico is a close friend of Nicky and her son, Michael. Michael provided this sketch of the “symbols” on Rico’s left and right arms. |  |
(10) Paul’s note: Elias plays a game with forum participants, in which they try and connect their impressions of various categories of objects, people, even concepts to the nine essence families. The goal is to learn how to recognize the working together of our intuitions and our intellect through our impressions.
In each public session, participants can offer their impressions and Elias usually responds with an answer of one point, acceptable, or less probable. Included in the game is a category of tiles that Elias says are to be found in the city that we are presently beginning to build.
Digests: follow these links for more information on:
the game | the city.
Digests – see also: | aspects of essence; an overview | bleed-through | the city | dimension | Dream Walkers; an overview | essence families; an overview (Sumari/Speakers, Sumafi/Seers) | essence families; intents | the game | forum | imagination | impressions | information | inner senses; an overview | objective/subjective awareness | oversoul | Oversoul Seven | pyramid focuses | Regional Area 1 | Regional Area 2 | Seth, Jane Roberts | shift in consciousness | waking state/dream state |
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