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  Session 1784 (Private/Phone)  

“Refining the Inner Landscape Exercise”

Participants: Mary (Michael) and Bill.

(Elias’ arrival time is 17 seconds.)

ELIAS: Good day!

BILL: Good day to you!

ELIAS: Ha ha! And what shall we discuss?

BILL: Well, I want to go back to internal landscapes. (1)

ELIAS: Very well.

BILL: We discussed this quite some time back, and in one of the sessions that you had talking with someone else, you said that another person could join you in an internal landscape.

ELIAS: Yes.

BILL: I got thinking that it would be very nice if you’d volunteer to help me with my internal landscape.

ELIAS: Very well! I shall be quite pleased to be engaging the action with you.

BILL: I have been having problems seeing the internal landscape clearly when I try and develop it. In the very early stages when I tried it, the landscape was clear and sharp in my mind, but as I later on try it, it is kind of hazy and not well defined.

ELIAS: Are you continuing to incorporate the same landscape?

BILL: I’ve tried a couple of different ones, to see. There was one that was very sharp for a while, and then it too seemed to fade out.

ELIAS: Which inner landscape have you developed that you view as the most pleasing?

BILL: It’s probably the landscape from my neighbor’s yard, looking out onto the river in front.

ELIAS: Ah. Perhaps it may be more beneficial and more consistently clearly expressed if you develop a landscape which is not necessarily an actual landscape that you are familiar with, one that allows for the incorporation of more imaginative creations, one that may be real in your terms but not necessarily one that you are actually familiar with. As an example, you may develop an inner landscape that is incorporating an ocean theme, and in that ocean theme, perhaps you engage the imagery of icebergs and walruses.

Now; walruses may not necessarily be a creature that you are entirely familiar with, and therefore, it allows you to incorporate more imaginative imagery and allows you to generate more creativity, which is more stimulating. In landscapes that are more familiar to you, they may more easily fade, for they are not as stimulating for you limit your creativity with them. In a manner of speaking, you are not stimulating yourself. Therefore, the landscape becomes somewhat boring, for it is perceived to be limiting in what you can insert in it.

Therefore, if you choose an unfamiliar landscape with some familiar imagery that is somewhat familiar, merely in form, but not entirely familiar in environment, it allows you to express much more creativity and insert different images into your landscape and alter the images at times. Your glacier may be different shapes, your icebergs may be in different positions, your fish or your plants may be different, the atmosphere may be different, it may be sunny at times, or you may be visualizing under the water, or you may be visualizing storms. In this, you allow yourself much more of a broader experience with the imagery that you create. Are you understanding?

BILL: Yes, I am, very much so.

ELIAS: Or you may choose other types of imagery. My suggestion to you would be to focus first upon a chosen creature, and in choosing a creature, allow yourself to choose one that you perceive to be playful or gentle or powerful, which the optimum would be to choose a creature that incorporates all of those elements.

BILL: A monkey?

ELIAS: Yes.

BILL: Playful, powerful.

ELIAS: Correct. But also incorporates gentle aspects and nurturing. That is a creature that is not familiar within your environment. Therefore, that allows you more creativity to engage designing different types of landscapes that accommodate that creature.

BILL: How do we manipulate the creature, the landscape? The area of internal landscapes that I’m interested in is repairing health problems.

ELIAS: I am understanding. The point of the inner landscape is to focus your attention in a manner in which you are generating a creative action, and therefore expressing a creative energy within yourself. The point is to be affecting of physical manifestations and altering them through the action of the inner landscape without concentrating upon the effected element of the physical body consciousness.

This is what generates the success of this type of action, for if an individual generates some type of physical manifestation within the physical body consciousness that the individual perceives to be damaging or uncomfortable or debilitating in some manner, the automatic response to physical manifestations is to concentrate your attention upon it, which merely perpetuates it. Therefore, the significance of the inner landscape is that you are moving your attention to different imagery, allowing yourself to trust your physical body consciousness that it knows how to interpret your inner landscape and what the communication is.

In a manner of speaking, it is an intentional action of moving your attention in another direction and trusting yourself and your manipulation of your physical body consciousness. You do not generally incorporate an objective awareness of, or attention to, how certain organs within your physical body function, but you trust that they function properly. Correct?

BILL: Yes.

ELIAS: And they do. For in your trust of yourself to be generating adequate functioning of certain elements of your body consciousness, it does not require your attention. You are not continuously, throughout your day, in every moment, objectively expressing to yourself to breathe in and out to sustain what you term to be life. Correct?

BILL: Correct.

ELIAS: Therefore, what you are doing is you are trusting that you are communicating to your physical body subjectively to instruct it to breath in every moment, and it does. In moving your attention to the inner landscape, you are not focusing your attention upon the area of your physical body that you have generated a manifestation within that you dislike; therefore, you are not concentrating upon it. You are moving your attention to an interaction of a landscape that appears to be entirely unrelated to your physical body consciousness, but this is an intentional objective manner in which you are expressing a communication to your physical body consciousness, which your subjective awareness translates with the intention that you want.

Remember, the objective and the subjective move in harmony and NEITHER FOLLOWS THE OTHER. THEY MOVE IN HARMONY. Therefore, if the subjective is moving in one direction, the objective is also; if the objective is moving in one direction, the subjective is also. If you are objectively concentrating upon dis-ease, the subjective communicates to the body consciousness and creates that. It instructs to create that. If you are not concentrating objectively upon dis-ease, the subjective reflects that also and instructs the physical body consciousness to function in different manners, and that alters the manifestation or the dis-ease.

That is the point of the inner landscape. You are engaging the object of the inner landscape, the monkey, as your champion. The monkey is you, it is your gladiator, and within the monkey’s environment is the manifestation that you wish to alter. But you do not create the manifestation in the landscape as some imagery that you shall associate with in a negative manner. Therefore, the object of the dis-ease, so to speak, becomes perhaps insects that the monkey finds delicious. Therefore, it is an element that is pleasing to the monkey. Or perhaps it is beautiful ripe fruits that the monkey revels in, and therefore, the monkey naturally consumes these beautiful fruits.

The monkey is engaging a natural action and is generating an action that you may view as playful and pleasing. The monkey may also be challenged by other creatures which are other elements of the dis-ease, and in those challenges, the monkey is expressing its strength. It may also be presented in its environment with an infant monkey, and therefore, it is allowed to express a gentleness and a nurturing.

All of the elements in the environment that the monkey interacts with are all different aspects of the dis-ease. This allows you to create imagery that is nurturing, is supportive, is trusting, is generating strength, and is also expressing a playfulness; which, all of those actions are contrary to the expressed energy of dis-ease. Therefore, all of those energies dissipate dis-ease. Are you understanding?

BILL: Yes. I think I am.

ELIAS: Very well. Then perhaps I shall express to you if you have chosen the monkey as one of your inner landscapes that you may be creating, I shall appear in your inner landscape as another monkey. Therefore, there shall be two monkeys.

BILL: Are you going to be blue?

ELIAS: If you wish.

BILL: (Laughs) That’s generally how you show yourself.

ELIAS: Very well! I shall incorporate the form of a blue monkey, and you may choose whatever color you wish.

BILL: I will stick with the standard brown, I think.

ELIAS: Very well. You may be brown and I shall be blue, and you shall recognize me as your companion in your environment. My role shall be to reinforce whatever you choose to insert in your environment. Therefore, if you challenge yourself with a baboon, I shall be at your side with you in a show of strength. If you insert an infant monkey, I shall rock it with you. If you insert delicious fruits, I shall consume them with you! And I shall engage playfulness with you without any other imagery. (Laughs)

BILL: So as I understand it, there is nothing in the landscape that depicts the malfunctions in the body, then?

ELIAS: Correct. All of the elements in the landscape, other than the subject, which is the creature, are all elements of the dis-ease, and what is significant is how you interact with them.

BILL: Now, this interaction is spontaneous, I assume.

ELIAS: Yes.

BILL: And so no script or anything like that is required?

ELIAS: Correct.

BILL: For what period of time do we do this? Do we do this for ten minutes, an hour or two hours?

ELIAS: It is unnecessary to be engaging lengthy time periods. You may incorporate several of your minutes, whatever you are most comfortable with. Some individuals enjoy playing within the inner landscape and may choose to be engaging somewhat of a longer time framework, perhaps twenty or thirty of your minutes, but that is not necessary. It is merely a matter of preference.

I also suggest that individuals initially allow themselves to engage briefly their inner landscape, perhaps two or three times within each day, and subsequently generate less times of incorporating the inner landscape within a particular day. But initially, it is beneficial and reinforcing if you engage the action briefly several times within one day. That allows you to become more familiar with the action, more comfortable with the action, and it also interrupts your concentration upon the actual dis-ease. The more you interrupt the concentration upon the dis-ease, the less you reinforce creating it.

BILL: Now comes another question. What is causing me to be interested this time is the doctors have found a growth on my bladder, which I would prefer to remove this way rather than with their methods. How would I know that that has been dealt with when I can’t feel it or can’t see it? Do I take their word for it that it’s there?

ELIAS: Pay attention to what you develop within your landscape. This is significant. Remember, you are NOT scripting. Therefore, each time you generate your inner landscape, it is spontaneous. Therefore, it shall be new and not known prior to its creation. Therefore, pay attention to what you actually generate.

If you generate, as an example, several times of engaging your inner landscape, and in each of those times that you engage it, you continue to insert fruit or insects that continue to be consumed by the monkey, that is an indicator that you are continuing to address to the manifestation. If what you are creating consistently with the monkey is similar, this is an indicator of specific actions that you are generating in relation to the physical manifestation.

If the imagery changes, let us express that perhaps six times you engage this inner landscape and within all six times the monkey is at one moment consuming fruit and in another moment is being confronted by another creature in which it must assert its strength, and within your seventh visualization, the monkey is suddenly playful, the imagery has altered dramatically. That is an indication that you have also altered what the manifestation is.

BILL: Is this affecting all manifestations of the body?

ELIAS: That is dependent upon you and your direction. If your intention, without incorporating THINKING – do not incorporate a thought process concerning the manifestation within the time framework that you are generating your inner landscape; your concentration and attention is be within the landscape and not upon the physical manifestation – but prior to your visualization, your inner landscape, such as now, if your intention is to be affecting of any or all physical manifestations, it shall be. That is all that is required, that you incorporate the intention that all physical manifestations shall be affected through the visualizations of the inner landscape. Or you can be specific in association with one manifestation, and that shall be understood also.

Generally speaking, most individuals choose to engage one manifestation with one visualization or one inner landscape, for that allows you more clarity. It allows you to be specific and to be paying attention to one manifestation – not holding your attention upon the manifestation, but as I have expressed, it allows you more clarity, more of a singularity and less confusion if elements within your landscape change. If you are intending to focus that inner landscape in relation to one manifestation, you thusly know if the imagery changes within your landscape. If your subject is generating different imagery, that indicates that you are affecting the manifestation in a different manner.

Now; conversely to what I have offered as an example, let me also express to you, it is possible that you may begin generating your landscapes and you may be generating imagery with the monkey that may express a gentleness and a playfulness, and that may consistently be generated in several of your visualizations. If that be the situation, that would be an indicator that you are affecting diminishing the manifestation. If subsequently you generate imagery in which another subject enters the environment, a challenger, in which the monkey must assert its strength, that may be an indicator to you that you are reinforcing the manifestation. It is dependent upon how your visualizations move.

The assertiveness of strength with the monkey may not necessarily indicate that you are reinforcing the dis-ease, if that is the consistent imagery. It may be an indicator that you are asserting a strength of energy to diminish the manifestation. But if the imagery is not expressed in that manner consistently and you inject that type of imagery somewhat suddenly, that would be a different indicator.

BILL: Now, do we change creatures or do we stay with the monkey?

ELIAS: That is also your choice.

BILL: So if I decide to stay with the monkey, that does not affect the inner landscape’s results, then?

ELIAS: No.

Now; you may also choose, if you are addressing two different manifestations, you may choose to continue with the same inner landscape with different intentions, or you may choose different landscapes concerning different manifestations. It is dependent upon the individual, which direction offers you more clarity.

BILL: When you say “changing the different landscapes,” would that mean changing the creature also or just the environment that the creature operates in?

ELIAS: That would involve altering the subject, which would be the creature.

BILL: That clarifies that pretty much. Now, can I write a book on inner landscapes so other people can learn it?

ELIAS: If you wish! (Chuckles)

BILL: I think this is a very critical part of this environment, to be able to do something like that.

ELIAS: It may be incorporated quite successfully if the individual is genuinely engaging it, for it is a successful method of moving attention. That is the greatest pitfall with individuals within physical focus, that if you are generating some type of manifestation or experience that is uncomfortable or that is malfunctioning in your assessment or is threatening, you automatically hold your attention upon that manifestation or scenario.

BILL: Well, with the pharmaceutical trade and the doctors, you get bombarded with everything around you, taking the medicines – it reinforces everyday.

ELIAS: Correct. Therefore, the point is to interrupt this cycle and the familiarity of it and introduce a method that breaks that concentration and interrupts that attention.

BILL: I assume that I have to experience first before I can tell someone else how to do it.

ELIAS: (Laughs) That would be advisable. Just as it would be somewhat challenging and difficult for you to explain to another individual what the experience of love is if you have never experienced it.

BILL: It’s true. During the last year, I felt rather comfortable with myself, more so than I ever have before. I credit it to the reading of the sessions that you are putting out and somewhat understanding it. Not totally by any stretch of the imagination, but I seem to be more at ease with it. Can you confirm that?

ELIAS: Yes, and I may also validate that this is evidence of you widening your awareness.

BILL: My automatic responses are diminishing some.

ELIAS: Ha ha! That is significant. And becoming much more familiar with you.

BILL: Somewhat, but not to the amount that a lot of your other students are.

ELIAS: Ah, DO NOT DISCOUNT YOURSELF!

BILL: Well, I wasn’t discounting. I just said I hadn’t quite gotten that far in the textbook yet!

ELIAS: Let me express to you, my friend, there are no levels, and no one is ahead of you. (Laughs)

BILL: I think that covers the majority of the questions that I have at this time. I’ll put this to practice, give myself maybe a month, and then we’ll get back together and critique what I’m finding out and see what we can reinforce or make it work more to our liking.

ELIAS: Very well, my friend! I shall be anticipating that meeting and interaction, and I shall be immediately complying with your landscape as your blue monkey.

BILL: I think that will be fun.

ELIAS: Ha ha! Quite! I am in agreement.

BILL: I thank you very much for your time. I really enjoyed it.

ELIAS: And I with you also, my friend. I offer to you great encouragement, and express to you as always my deep affection.

BILL: Thank you very much.

ELIAS: To you, until our next meeting, au revoir.

Elias departs after 44 minutes.

Endnotes: