Focuses and Impressions
"Focuses and Impressions"
Thursday, June 13, 2002 (Private/Phone)
Participants: Mary (Michael) and Don (Allard)
Elias arrives at 11:12 AM. (Arrival time is 20 seconds.)
ELIAS: Good morning!
DON: Good morning.
ELIAS: (Chuckles) And how shall we proceed?
DON: Let's see. I have a lot of focus questions today, just kind of quick ones that I'd like to run by you and see what you say about the impressions I have. Why don't we start with that?
ELIAS: Very well.
DON: I have an awful lot of these, so I'll try to run through. First, I'm wondering if my brother has some association with the essence that has the focus of Philip K. Dick. I'm thinking there is at least a similarity of tone, but there might be something more.
ELIAS: An associate.
DON: I have an impression of a focus of mine in the present day that is a woman in a small village in China, or maybe a small town. I don't think she's Mandarin, more central Asian, a little gruff, kind of matter of fact, with a good natural understanding that it matters not. Is that a focus of mine?
DON: Do I have a probable self that's a musician that either lives in Amsterdam or plays there often?
DON: I also, many years ago, picked up what feels to me like a probable self of a counterpart, but might be the same person. He auditioned for a band that was famous in the late 70s, early 80s. Is that a probable self of a counterpart? (Pause)
DON: Oh, a counterpart. Do I have a probable self that years ago went to jail and perhaps died violently in jail? Or maybe another focus?
ELIAS: Another focus.
DON: Was he in jail for drug-related offenses? (Pause)
ELIAS: Yes, and other activities also.
DON: And did he commit suicide?
DON: We mentioned last time I had a focus as a Buddhist monk, just briefly. I'm thinking that I have actually at least two focuses as a Buddhist monk, one maybe when Buddhism was first sweeping across Asia, a very vague one, and another that's near this timeframe, maybe current or near past or near future. Are both of those correct?
ELIAS: Yes. The latter is what you are terming near past.
DON: Do I have a focus as a black American bebop musician in the 40s or 50s? (Pause)
ELIAS: Nineteen forties, yes.
DON: Was that an alto sax player?
DON: Now, it wasn't Charlie Parker, was it?
DON: But played similar music?
DON: Would any recordings exist of his playing today, or was he not recorded?
ELIAS: Not professionally, no.
DON: Years ago I had a series of dreams where an elderly black man was teaching me to play blues piano. I had reoccurring dreams of this sort for maybe a couple of years and then they stopped. I wondered, is he a focus of mine or someone else, or my own imagery?
ELIAS: This is actually another focus of you, yes.
DON: I sense that he's not famous, although he played pretty well. I wonder, do any recordings of his exist that I might find?
ELIAS: No, not in this present time framework.
DON: At one point in one of these dreams, Otis Spann just came by for a moment and said hello. I wonder if this was really Otis Spann or his energy deposit or my own imagery, or something else? (Pause)
ELIAS: This IS a focus.
DON: Otis Spann is a focus?
ELIAS: Yes. (31-second pause)
DON: Hello, Elias?
ELIAS: Yes - you may continue.
DON: Do I have a focus as a European author during the early 20th century? (Pause)
DON: Would this be Czechoslovakian?
DON: It wouldn't be Franz Kafka, would it?
DON: You said no?
DON: Is it somebody associated with him?
ELIAS: A friend.
DON: Okay, I'll investigate that.
I have several vague impressions of Japan during WWII. They start off with a young woman, a very young woman or maybe a child, who is killed in an atomic blast - probably more likely Nagasaki than Hiroshima. This blends into an impression of a young woman in Asia, maybe China or maybe Korea, who suffered at the hands of the Japanese soldiers, which in turn blends into a young Japanese soldier destined to be a Kamikaze who was very frightened and very ashamed of that, and finally that blends into something happening guarding some American POWs. I'm wondering if any of those are a focus of mine and maybe the others counterparts or what?
ELIAS: Yes, you are correct. The focuses of your essence are the child that disengaged in association with the blast and the pilot, and the other individuals are counterparts.
DON: I also have some impressions from Nazi Germany. It's very hard to be clear about them due to the emotional charge we put upon this. At one point recently when I was considering it, I wondered if I was involved in one of the Hitler assassination plots, and immediately had a strong physical impression, my eyelids and my eye sockets getting very warm. That lasted for maybe five or ten minutes. I wasn't really sure how to interpret that. I know that a lot of people were tortured and it might be some literal impression, bleed-through of that. I know that Hitler himself had temporary blindness during WWI due to exposure to mustard gas, but I thought maybe this was just a more symbolic impression. Was I involved in an assassination plot against Hitler?
ELIAS: No. This is information that you have allowed yourself in tapping into energy deposits in association with that time framework.
DON: I see. I also had the impression that, at least as directing essence, I wasn't really involved in Nazi Germany. Is that a valid impression?
ELIAS: Yes, you are correct.
DON: Well, that's nice to know. (Elias and Don laugh)
DON: I wonder if as nonphysical essence, I feel like I lent quite a bit of energy to the introduction of communism and also maybe had some relationship to a poor Russian man who felt these ideas very passionately and might have participated in the Russian Revolution, although with no fame of any sort. But I have the strong impression that somehow nonphysically I lent energy to that. Is that a correct impression?
ELIAS: Yes, and this individual that you incorporate an impression of is also a focus of your essence.
DON: I have an impression of being a young German soldier in WWI that died in France of a wound. I see him face down along a small dirt road and I have the idea that he may have been wounded and trying to travel, but finally succumbed. Is that a valid impression?
ELIAS: Yes, and this is the individual that is associated with the bleed-through experience that you incorporated with your eyes.
DON: I see - okay, lot of mustard gas.
I feel like I might have a focus that has some indirect association with Malcolm X, who felt that mass event around him fairly passionately. That's very vague. Do I have such a focus?
ELIAS: An individual that followed that philosophy, yes, but not directly associated with that individual.
DON: Does that focus happen to be similar in tone to my current one?
DON: I have a couple of questions about Joseph Merrick. I wonder if there was counterpart action between him and Oscar Wilde.
DON: Well, that just makes logical sense, really. There were persistent rumors, not very strong ones, but there's always been rumors about him being Jack the Ripper, that is Joseph Merrick. I know this couldn't have happened objectively for many reasons, but it makes me wonder if there was also counterpart action between Joseph Merrick and the individual known as Jack the Ripper.
ELIAS: Yes, you are correct.
DON: Does Julie have a focus that was close to Joseph, my friend Julie?
DON: Was that focus Joseph's mother?
ELIAS: No, a friend.
DON: I wonder, do I know a focus in this time frame of the essence who is Dr. Frederick Treves, associated with Joseph?
ELIAS: And what is your impression?
DON: My impression is it's a family member of mine, that Dr. Treves' essence has a focus as a family member of mine. (Pause)
ELIAS: You are correct.
DON: Would that be my sister Deirdre?
DON: Ah, very interesting! Thank you.
I have some very vague impressions of being both a male slave and slave owner in pre-Civil War south, probably not associated with each other. The slave owner was quite cruel and the slave was extremely angry and violent. I have a clearer impression of the slave than the slave owner. I wonder if the slave is a focus of mine and maybe the slave owner a counterpart, or maybe both focuses.
ELIAS: The slave is a focus of your essence; the slave owner, you are an observing essence.
DON: Now, did I participate as an observing essence in the Beethoven focus while he was deaf?
DON: Did I have any influence at all in any of his compositions?
ELIAS: It is not quite an expression of influence in association with observing essences, for this is not the point. Therefore, no.
DON: You mentioned at some point in one of the transcripts that sometimes observing essences will - speaking in linear terms, I guess - after observing the decisions made by the directing essence, will have a similar focus in some ways, where they will do things the way that they would like to. I wondered, do I have any association with a composer in the 19th century - actually a focus as a composer in the 19th century?
ELIAS: And offer your impression.
DON: Well, these are kind of long shots, but my first impression, my strongest impression would be in association with Chopin. Then, after that, for a very different reason just having to do with a dream I had where I created some music that was a little similar, I thought maybe Franz Schubert.
ELIAS: The latter is correct.
DON: Oh! That impression comes from a dream I had some years ago, where I sat in a park at night and I wove this music out of the air that was a little reminiscent of his Unfinished Symphony, one of the movements of his Unfinished Symphony. Was that a bleed-through from Franz Schubert...
DON: ...or just something I did?
ELIAS: Yes, you are correct.
DON: Oh boy, we're at least half-way done, I think. Do I have a focus as a boy, at least I tuned into him as a boy, in Italy during the early Renaissance, and this boy as a very young man killed his father and ran away to work on a river barge? Is that a correct impression?
ELIAS: Yes, you are correct.
DON: And the father that the boy killed is the same essence as my current father?
ELIAS: Yes, you are correct.
DON: I feel my current father and I have had a lot of intense male/male relationships. Would that be correct?
DON: Did I have a focus as a French soldier during the time of Joan of Arc that may have had some interaction with her?
ELIAS: Briefly, yes.
DON: Briefly, and maybe antagonistically? (Pause)
ELIAS: Not quite in what you may express to be an agreement and comfortableness! Ha ha ha!
DON: Oh, is that right? (Elias laughs) That's not so antagonistic. Is my friend Buffy somehow associated with Joan of Arc?
ELIAS: As another soldier.
DON: I have an impression that a focus of yours and a focus of mine, sometime during the Middle Ages, shared a drink and that you were a cleric, or something like a cleric, and I was a soldier. Is that a correct impression?
DON: And I feel like there is some significance to that drink and our conversation around it that may not have been objective at all. But as I picked that up, I had this image of our trajectories intersecting at that point and there being some significance to that, like maybe new probabilities were created or a significant energy exchange occurred, or it just represented something that was going on subjectively. Do you have any comments on that?
ELIAS: An energy exchange in altering the perceptions of both individuals.
DON: Yes! Right, right. Now, did I pick that up mainly with my conceptual sense?
DON: You spoke one time of us tending to have a dominant inner sense because we're so singularly focused. I wondered if my conceptual sense isn't my dominant inner sense, or at least if it isn't, close to that?
ELIAS: Yes, you are correct. You engage...
DON: Not very good for details.
ELIAS: You engage this inner sense much more often than you do other inner senses.
DON: Let's see. I think I had several focuses in the Roman Army. Now, this one I'd like to ask you about is an impression that somebody else told me of, but it really resonated with me. It was a focus where I was half Roman in charge of a small village in Yugoslavia and was very cruel and held very strong belief systems of duplicity. Being half Roman, I judged everybody in terms of how much Roman blood they had. I felt very inferior to full-blooded Romans and very superior to those that were not Roman. First, is that a focus of mine?
ELIAS: Yes, you are correct.
DON: A lot of these resonate strongly, but that one does also. I felt recently that by my own engagement and examination of my current belief systems of duplicity that he has come to some new understandings. Is that correct?
DON: I could really sense that. I feel like I may have had a focus as a female slave in Rome. I'll only single this one out because being female is easier to tell apart from the males, the male soldiers. Is that correct?
DON: In ancient Greece I feel like I have a focus where Katrina was my son. I was her father. Is that correct? Or maybe I was a mentor of some kind.
ELIAS: First impression is correct.
DON: It's strange, I hardly know this person but I felt a real fatherly pride in what she does. She was quite a philosopher then, too, I'll bet. (Elias laughs)
This is another one that somebody else told me about, but I can feel it. I have an ancient focus, as we would say at least ancient, as a shaman in an Amazonian tribe?
DON: Was that my initiating focus?
DON: I had a feeling it really wasn't and that I wanted to make it that because it may have been close to one of my earliest ones in terms of time. I know that has nothing to do with it. (Elias laughs)
Let's see, last year on a tourist boat some dolphins swam with us for awhile, and several of them came right up and basically looked me in the eye. Other people noticed it, so it wasn't just my perception. I wondered if one of those dolphins, well, if I had some association with one of those. Maybe he had been fragmented from my essence?
ELIAS: Yes, you are correct.
DON: Did he have a recognition of me then?
ELIAS: Of the energy of you AS essence, yes.
DON: That was in New Zealand. I had a strange impression when I was there. I felt a real vacuousness to that whole place, almost as if I could kind of feel the lack of genetic diversity or something. I wasn't sure how to interpret that impression of emptiness. I thought that maybe I had a focus there that starved to death or lived there when there was a real shortage of protein, or maybe the impression comes from that being one place I've never had a focus. What's your interpretation of that?
ELIAS: I may express to you that you do not incorporate a focus in that physical location. Also, the qualities expressed in your essence which fragmented incorporate the affinity for that location.
DON: Well, I think that does it! (Elias laughs) Let's see...
My first session with you, you confirmed the impression I had that another essence, or rather another focus, had been the designated final focus of my essence. That decision had been changed to make me the designated final focus, and yet I've been considering changing that again. I've been trying to understand why I might I do that, or why as essence I might make those kinds of decisions. I realized then that I don't really understand what a final focus is all about, what it's for. So, I have quite a few questions either directly or indirectly motivated by that.
I actually might start with some questions about truth. One thing that confuses me about final focuses is that I can't really help thinking about it in other than linear terms, or I can only think of it in terms of our language. I'm wondering if time or something like it, not time as we know it but something like time, is not actually a truth. You've spoken of becoming being a truth, of choice being a truth, of action being a truth, and all of these things, at least to me, seem to imply the possibility of a change of state. It would seem that something like time has to exist as the medium along which that can exist. Do you have any comments on that?
ELIAS: I may express to you, the manner in which a quality may be defined as a truth is if it may be translated in some manner throughout consciousness, in every area of consciousness.
Now; time actually does not qualify as a truth, for there are some areas of consciousness that are devoid of any expression of time.
DON: Are those areas also devoid of any expression of change?
DON: That's where I get lost! (Elias laughs) I just feel myself bumping up against, you know, our language.
Well, more specifically, I have a few things I'd like to tell you about that I think are related to this decision about final focus that my essence has been taking. For one thing, I've had the impression for many years that as essence I had some indecision and even misgivings, maybe, about manifesting my current focus. I wasn't really sure about that. Do you have any comments on that or what I may not be translating with that impression?
ELIAS: What you are translating is not actually indecision or misgivings, so to speak, in your terms, as essence concerning the manifestation of your focus of attention, but rather an expression which has not been actualized yet, but has been generated, as a desire of this focus of attention to be fragmenting and therefore generating a new essence.
DON: And yes, I had some other impressions about that specifically that I thought must be related to what would seem to be this indecisiveness about whether this is my final focus.
ELIAS: Correct. For if the choice is generated to be fragmenting and creating a new essence, another focus of attention shall be designated as the final focus.
DON: Oh, I see. This might relate to two strong, well, one strong impression I had just recently. In my first session, you confirmed that I belong to Vold and align with Sumafi. Ever since then I had the strong impression that I could have said that I belong to Tumold and that you would have maybe said that was correct, sort of as if belonging to Vold was the one-point answer and Tumold was the acceptable answer. (Elias and Don laugh)
I feel further that if I had said Tumold and you had confirmed that, I would really be a different person now. I would have interpreted my memories differently, I would have had very different experiences since that session and different probabilities would be in front of me or would be being generated, and even the focuses I would recall would be quite different. So I've thought that maybe either that was an observing essence I was picking up or maybe, more likely, that was an impression of the probability of me fragmenting.
ELIAS: The latter is correct.
DON: Actually, in that moment I feel like I generated or chose the probability, at least for then and up until now, not to fragment.
DON: Oh, interesting. I feel like choosing to belong ... were I to fragment and were I to choose Tumold to belong to, that would be sort of a reaction to all of these Vold focuses, looking for something to really balance that, or looking for some calm. Is that correct? Or is there anything to that?
ELIAS: That is a translation that you are generating in association with this focus of attention and the experiences that you have generated in this focus. In actuality, the action of fragmentation is not expressed in seeking, but it is expressed as a desire in different exploration.
DON: Now, even though I feel much more definite that this is my final focus, this goes without saying I suppose, that's still always open to change.
ELIAS: Yes, you are correct, for this is a potential which is being generated in association with that action of fragmentation.
DON: I get the sense that if I just listen to myself, I should be able to tell at any point where I am with regard to that decision.
ELIAS: You are quite correct!
DON: I asked that not just because it feels that way, but thinking back to a time in my 20s... I don't recall if this was directly inspired by something I was reading; it was probably when I first came across some concept like fragmentation, reading the Seth material. But I remember at the time feeling - using different terms at the time - but feeling like my essence had just really been making some lousy decisions and that if I could fragment, I would do it, or if I could split off somehow I would do it.
That's obviously a translation of very emotional, but now I think that that might have actually been a pretty direct translation still, except for the emotion, of what was really going on. That makes me wonder if we can really, just that consciously, choose to fragment, thinking about it even objectively in that fashion.
ELIAS: Yes, for you are offering yourself information in relation to yourself as essence. As I have stated, all of the information that you incorporate as essence IS available to you objectively if you are allowing yourself an openness and are paying attention and listening to what you are communicating to yourself.
Now; I may express to you, you do translate many expressions of information into what is known in association with your physical dimension, but this is not to say that you may not objectively incorporate an awareness of an action such as fragmentation, for you may.
DON: What was I going to ask about that? Shoot. Well, that clears up a lot of why I might be making those decisions about final focus. I still find myself wondering what a final focus really is. I was, in particular, kind of fascinated to find that this concept of having an initiating and final focus, you said at one point, is common to all physical dimensions. Is that correct?
ELIAS: Yes. It is movement of attention.
DON: I beg your pardon?
ELIAS: It is a movement of attention. Therefore, the movement is initiated analogous to a type of spark, and it is also moved as a disengagement of the attention. I have expressed an analogy concerning the focuses of attention in association with any physical dimension, and the designation of a final focus and a beginning focus in relation to what you view or know to be as a sparkler within your physical dimension. One spark initiates the action of all of the sparks of the sparkler, and almost immediately all of the sparks stop. They all sparkle together, but one spark begins the action of the sparkling, and there is a moment in which all of the sparks stop together.
In similar manner, an essence chooses many focuses of attention to be moved to a particular physical dimension. It designates a certain number of attentions that shall be incorporated within a particular physical dimension, dependent upon the blueprint and the type of physical dimension - for precise numbering of focuses in some dimensions is not necessarily expressed, in association with the type of manifestations or attentions that may be expressed in certain physical dimensions. Even within your physical dimension there is allowance for variance of total numbering of focuses of attention. (Abruptly, very loud static begins)
DON: (Through the static) Elias, are you still with us?
ELIAS: Yes! (Humorously) Ha ha!
(Static continues and the call is disconnected, 11:58 AM.)
(Don calls back, has a brief conversation with Mary, and Elias returns at 12:00 PM (9 seconds).)
ELIAS: Continuing! Interesting interruption that you have created! Ha ha ha!
DON: Yes! I found myself not tracking your explanation, so it gave me a chance to regroup.
ELIAS: Ha ha ha! And generating objective imagery in reflection of the static and confusion within yourself! Ha ha ha! Very well, you may proceed.
DON: Well, on another subject ... we don't have much time. I have two quick questions. I wonder if you could give me the essence name, family belonging and alignment and orientation of my friend Keith?
ELIAS: Very well. (Pause) Essence name, Lauraline, L-A-U-R-A-L-I-N-E (LORE uh line).
DON: Oh, he'll like that.
ELIAS: And your impression?
DON: Oh, of Keith? Let's see - I'll say aligned with Ilda and belonging to Sumafi.
ELIAS: Correct. Orientation...
DON: And how about my friend Julie?
ELIAS: Are you wishing for orientation?
DON: Oh, yes! Orientation for Keith.
ELIAS: Common. (Pause) Next individual?
DON: Julie. (Pause)
ELIAS: Essence name, Adell, A-D-E-L-L (uh DELL). And your impression?
DON: I have an impression that she is intermediate, first of all.
DON: And Zuli ... I'll say belonging to Sumari, aligned with Zuli.
DON: And just one final question, I guess. I could make this a really long story; I'll try to keep it short. (Elias laughs) I had my first parlor trick of this sort that I've ever seen happen this last Sunday morning. It involved a pesto jar that seemed to move itself in the refrigerator in a place where I couldn't miss it. Then, even more surprising, I went back the next day for a little forensic analysis to try and figure this out, and it was a different jar! The label was completely different; the shape was different. There was no, quote, reasonable explanation, unquote, for that.
And there was some curious imagery around that. It moved while I was watching a television show about a remarkable woman, Lisa Fittipaldi, who became a painter after she became fully blind. So I'm wondering, first, what happened mechanically and what this imagery was presenting to myself - and also I feel like I did that but that you lent some energy to that.
ELIAS: You are quite correct.
DON: Oh, well, thank you! (Elias laughs) It was quite interesting.
ELIAS: I may express to you that I may engage these parlor tricks, so to speak, but not in the moments that you request them but rather in those...
DON: That was out of the blue, so to speak. (Elias laughs) No pun intended.
ELIAS: Rather, they are offered within time frameworks in which you are NOT expecting and in which you shall allow yourselves to be recognizing that the impossible is not impossible.
DON: It was curious that when I could not find any possible, any reasonable quote/unquote explanation, I found that the very memories themselves, I started rejecting them like a foreign protein. (Elias laughs) This cannot be, therefore it was not. It's so nice to get the confirmation.
ELIAS: It is an automatic response generated through your rational thought processes, but not all of your reality is rational.
DON: Right. (Elias laughs)
ELIAS: Not all of your reality is logical. (Chuckling)
DON: And thank goodness! (Elias laughs)
One more very quick question. You are probably aware, not long after our second session I sort of cut off the conversation that we had for various reasons, and right at that point I started actually seeing colored dots like some other people have spoken of. They weren't in my mind's eye, but like I had these little retinal spasms right in my physical field of vision. Sometimes they're blue, but they're also other colors, particularly green and yellow. I'm wondering if these are, first, communications from you, and also some of the other essences that are involved with this energy exchange.
ELIAS: You are quite correct.
DON: So I'll be watching - I AM watching.
ELIAS: Ha ha ha! Very well.
DON: Well, I need to let you go. Mary needs to get back. So I'd like to thank you once again, Elias. That was an athletic effort for you I think, going through all of those focuses.
ELIAS: Ha ha ha! It matters not, my friend. I am quite compliant in offering validation of your explorations.
DON: So, looking forward to our next meeting.
ELIAS: And I also. As always, I offer to you encouragement, acknowledgment of your allowance and your attention to self, and my tremendous affection. Until our next meeting, my friend, au revoir.
DON: Au revoir.
Elias departs at 12:09 PM.
©2004 Mary Ennis, All Rights Reserved
Copyright 2002 Mary Ennis, All Rights Reserved.