Session 120
Translations: ES NE




Sunday, September 15, 1996 © 1996
Participants: Mary (Michael), Vicki (Lawrence), Ron (Olivia), Cathy (Shynla), Gail (William), Julie (Lanyah), and a new participant, Christy (Maka).
Elias arrives at 6:41 PM. (Time was 25 seconds)

ELIAS: Good evening. (To Christy, bowing) Welcome to new essence!

Seers and alternate selves, in relation to intersections of inspiration! (Grinning, as this is our first "title")

You think in extremely limited terms. Therefore, you think in terms of one, or singularity. You do not view the multidimensionality of yourselves. We have expressed to you that you each incorporate an aspect of Seer. In this, we shall refer to our new friend's analogy of your television and its stations.

You may think of yourself as the television set. You are the television; this focus; but you may quite easily access any channel available within the frequencies that your individual set may "pick up", for there are some frequencies within your individual focus that you do not actually pick up within physical focus, for in your terms, they are far removed from you, occupying other realities quite removed; but within your pool of probabilities and your alternate selves, you may tune your consciousness to any of your individual channels, so to speak. Among these channels also is your Seer aspect; this being also, in your terms, an alternate self. This particular aspect parallels your focus continuously, and also intersects with the individual focus; the consciousness that you recognize.

There are different types of inspiration, as you each well understand. Some types of inspiration are quite creative within their expression, and very obvious. You feel inspired. Many artists and musicians incorporate this feeling of inspiration, which they translate into creative manifestations. There are other types of inspiration that are more subtle. Within the focus of the Seers, the inspiration points provided by the intersections are not quite as obvious, although they may be, at certain times, very obvious to you.

Each time, throughout your focus, or your "lifetime" as you view it presently, that you are motivated to be seeking out truth and truthful, undistorted information, you are intersecting with the alternate self of Seer, which is an element or aspect of you. This element you may view to be similar to what you think of as your "subconscious". It is not your subconscious, but just as you view yourself and your waking consciousness, and you also view that you incorporate a subconscious aspect of yourself that continues with you throughout your entirety of your focus, not separate from you, you may also view that aspect which is Seer to be similar in its function. It parallels you and intersects with you throughout your focus.

Now; the number of times that you allow this intersection varies. Some of you allow an openness, subjectively, to this alternate self of Seer. Therefore, you incorporate more points within your time period of intersection, which is translated into inspiration. Each time you are motivated to be investigating the undistorted information of any subject, it matters not, you are allowing a subjective intersection of the Seer aspect alternate self with your objective focus. You intersect with other elements, other alternate or probable selves, at different time periods throughout your focus. These intersections you would view to be different, for they incorporate different types of inspiration. You may be inspired artistically. You may be inspired parentally. You may be inspired personally. You may be inspired in many different ways, but each time you are inspired within a motivation to be incorporating information within its truth, you are intersecting with Seer.

We shall offer an example. I shall allow Lawrence as our example this evening. Each time you have been motivated to be investigating the reality of a given subject, as with your extra-terrestrials, this is an intersection of Seer. It is a motivating element which is seeking, within your objective awareness, information which incorporates truth and which is undistorted, for this is your intent.

There are other time periods within your focus that this intent seems not to be present within your motivation of inspiration. As I have expressed, you are motivated within inspiration throughout your focus, many more times than you recognize. You may be motivated in what you view to be very small areas. If you are choosing to be incorporating a new living area, you may be inspired by a home. This is a different type of inspiration, but it is also an intersection point of an alternate self.

This is a quite difficult area to be explaining to you, for as it has been stated, you incorporate all knowledge already; but you also intersect with new knowledge. It is new, for it is being created within the now, as you create it; but it is also already existent.

Let us view the scenario of choosing a new dwelling. You, intersecting with an alternate or probable self, are inspired to be moving into a new home. Within the process of seeking out a new home, you investigate many different dwellings. One may strike you as being what you view to be your perfect image of your dream house. In this, you have intersected, once again, with an alternate or probable self. Now; within the action of this intersection, you are creating the reality within the moment, but the reality also simultaneously already exists in what you view to be past, or future, or both; for within the reality of the alternate self, the existence is incorporated already. Therefore, as you step over your threshold into your prospective new home, you may feel a feeling of familiarity or comfort. Many individuals describe this as a "knowing" of this area. This house feels welcoming. The building of the house does not incorporate the feelings. It is not emanating emotion to you. The alternate self that you are interacting with and intersecting with is projecting emotion, feelings, and thoughts to you. You merge; therefore you feel the feelings.

You do not always recognize these intersections, but they do occur. In this, the alternate self already occupies this house. The reality of this living space, and action of living within this space, is already existent, but it is not; for you are creating it within the moment! (Pause, during which you can hear some "confused laughter")

You have asked for information. You shall receive your information. I shall not be guaranteeing that you shall understand objectively what you are receiving, but it shall be delivered regardless, for you will understand subjectively.

This evening's session shall be brief, for within our present meeting of Seers, much hesitation in movement has been occurring within your probabilities. Therefore, as you question much, you also hold tightly to your individual energies, and do not allow quite as much bleed-through presently. This, we are confident, will change, within your choosing probabilities.

These are difficult subjects. There are pools of consciousness, as we have expressed, but they are not individual, singular pools. There are pools within pools within pools, merged and interconnected and intersected with each other, inside and outside of each other, in your terms. There are infinite amounts of intersections that occur continuously. You only view those which are expressed outwardly, objectively; [those] that you may see. Just as we have expressed the connections of probabilities that you do not see, you also do not see the movement that you involve yourselves with, which is much greater than you imagine.

(Firmly) You cannot stand still! If an impossibility exists within all that is, it is non-motion, for energy is always in motion. Therefore, you are in motion also, regardless of how "planted" you view yourselves to be!

You may briefly ask questions, then we shall incorporate our game, and I shall deliver personal information later. (Pause)

VICKI: I have a question. Recently, you used the word "ideas". Could you explain how you're using that? Is that being different from thoughts or belief systems? You seem to be using that term very specifically.

ELIAS: This word "ideas" would not be different from thought, for you must incorporate thought to possess an idea. Your ideas are influenced by belief systems within physical focus. I do not use this term excessively different from your present terminology, although there is a slight different meaning from what you view within your understanding to be "just a thought", although there is no such "just a thought"; but as you do not understand the nature of thought as energy in itself, ideas hold slightly more meaning to you, as motivated thought. (Pause)

VICKI: Would these ideas also be connected with these intersections that you were speaking of earlier?

ELIAS: Many times, yes.

VICKI: But you would differentiate between ideas and inspiration?

ELIAS: Yes. You incorporate many ideas. These ideas are not always inspired. (Long pause)

CATHY: Topla and Joseph said to say hello, and Topla would like to know if he's aligned with the Milumet family.

ELIAS: Less probable. You may extend my greetings on to these individuals also.

CATHY: I'll do that. (Long pause)

ELIAS: Very well. We shall on to our game!

GAIL: Insect, grasshopper, with Rose.

ELIAS: (Pause) Redirect your thought process as to your connections.

GAIL: Okay. Vegetables, cabbage, with Sumafi.

ELIAS: Acceptable.

GAIL: With the occurrence of nature once again, with the connection of creation, is the rest of it "creating the physical world"?

ELIAS: Acceptable.

GAIL: And for the babies, is it Thomas Lee?

ELIAS: Less probable.

GAIL: (Sighing) Okay. I think that's it for me.

VICKI: Okay then. Composers, with Sumafi, Stravinsky.

ELIAS: Acceptable.

VICKI: Vegetables, with the Ilda family, Brussels sprouts.

ELIAS: Acceptable.

VICKI: Songs, with the Vold family, The Moonlight Sonata.

ELIAS: Acceptable.

VICKI: Musical instruments, with the Milumet family, the tuba.

ELIAS: Acceptable.

VICKI: For Michael; movies, with Sumafi, "Always".

ELIAS: Acceptable.

VICKI: Sports, with the Zuli family, the decathlon.

ELIAS: One point.

VICKI: Architecture, with the Borledim family, pyramid.

ELIAS: Acceptable.

VICKI: And, in artists and connecting essences, to connect all the essences in the game with Cezanne.

ELIAS: Pyramid! One point!

VICKI: That's it for us.

CATHY: Okay. When you added all the rest of those names, like Speakers and Seers, what category is that? (Elias just grins) Okay! I would like to connect Bearers to Rose, okay? (Laughter)

ELIAS: (Grinning) One point!

CATHY: Imagers with Sumari? No, never mind, never mind, never mind! I did not mean to say that! Forget it! Forget it! (Much laughter)

ELIAS: (Chuckling) Very good, Shynla! (Gee, Cath, you're just so entertaining sometimes!)

CATHY: Okay. I think I'll get off that! Under plants, with Ayla, I would like to add staghorn to fern.

ELIAS: Acceptable.

CATHY: Vegetables, with Paul, chives.

ELIAS: (Chuckling) Acceptable!

CATHY: Okay. Tellers with red.

ELIAS: (Grinning) Less probable!

CATHY: Okay. I'm done! (Laughter)

ELIAS: (To Vicki) Enter Maka as new essence "tone". I intentionally differentiate and avoid "name". M-A-K-A. Which, it is unnecessary for the message has already been delivered, but as it shall add to validation for Lawrence within your choosing of present probabilities, you may also deliver a message back to your energy exchange: Name has been unincorporated as the word of identification of essence. (Chuckling) Many more elements are reality than you realize, and there is no hurtfulness. Therefore, there is no necessity for fear, which is the motivating factor for blocking. As I have stated, we will deliver personal information later, which shall incorporate not only Lawrence. (Pause)

(To Group) Very well. I shall be speaking with you once again; in your terms, very soon. Be thinking of your television, and how very easily you may physically change your channels by a push of a button within your new technology, and you may even easier change your channels within consciousness. Au revoir!

Elias departs at 7:23 PM.

© 1996 Vicki Pendley/Mary Ennis, All Rights Reserved

Copyright 1996 Mary Ennis, All Rights Reserved.