Tuesday, September 20, 2005 (Private/Phone)

Participants: Mary (Michael) and Ken (Oba)

(Elias’ arrival time is 20 seconds.)

ELIAS: Good morning!

KEN: Good morning, Elias! I’m very pleased to be talking to you today.

ELIAS: And you also!

KEN: Thank you. How are you doing?

ELIAS: As always, and yourself?

KEN: I thought you might say that! (Elias laughs) For myself, great. I’m really enjoying life and having a lot of fun. Oh, a quick question: would “as always” translate to having the simultaneous time of your life?

ELIAS: It can!

KEN: I was just being a little facetious! Just for fun, of course. (Elias laughs)

The funny thing is, the original session in which I talked to you is taking place in this very moment. I’m full of energy now; I’m very excited. I love to do this, very much fun. I get a little scattered sometimes, but I’m really, really having fun.

I’d like to fill in my statistics that I didn’t cover last time. I’ve narrowed it down to either thought or emotional. Is it possible to be both?

ELIAS: That would be political.

KEN: That’s pretty cool; that’s pretty fly! There’s a double meaning in that. I’m just gonna throw a dart on the dartboard and pick one; I would say emotional.

ELIAS: I would express political.

KEN: Oh, I am political! I thought you were just making a joke; I misunderstood! Political, I wouldn’t have thought that. I get a whole new perspective on things when I’m pondering. My color impression, the color I gravitate to is green, a yellowish green.

ELIAS: Correct.

KEN: Good. It really makes me feel good to see that color, especially when it’s got the yellow tint to it. I’ve been reading up on the dispersed essence thing. Am I that?

ELIAS: No.

KEN: What is my essence nickname? No, I’m just kidding! (Elias laughs) Just being a little playful. I’d like to work on some focus impressions here. I have an impression of a focus, not related to any specific time or place but just what he is, a jester in a royal court, whose humor got a little bit edgy, as they say. It ruffled some royal feathers, and I ended up having my life endangered because of it, possibly even executed. Anything to do with that?

ELIAS: Yes.

KEN: I thought so; it was such a strong impression. I also have much in relation to pirate imagery. In fact, my daughter and I, we have a lot of fun with everything related to pirates. I think related to the pirate focus and the jester focus, I have this natural tendency in this focus to have an utter distaste for having anything around my neck, even a turtleneck sweater. I feel like I’m choking. My impression is this is from being hanged in at least one of those focuses, maybe the jester or even the jester and the pirate both.

ELIAS: Yes, you are correct.

KEN: I still seem to see that in my humor. For the sake of the joke, I’ll throw caution to the wind. The joke is everything, and I forget that sometimes I’m getting a little maybe intrusive. So I’m working on that, making people laugh without being intrusive. I don’t really have any ill intent; it’s just that I love to make people laugh, and sometimes it’s whatever it takes. I get kind of carried away sometimes. Can you give me an investigative direction to go in for the jester focus?

ELIAS: I would direct you in an ancient time framework, in association with Rome.

KEN: That’s starting to give me little tingles of recognition. Thank you very much for that.

ELIAS: You are welcome.

KEN: At the tail end of the last session, where my friend Jen/Urseline and I were together in the session, you referred to Jen and I as new dear friends but old friends also, and I was trying to narrow that down a little bit. I was wondering if that meant old friends in terms that subjectively we’ve known each other longer than we’ve known each other in this focus, or if we’ve known each other in other focuses, for myself specifically.

ELIAS: Other focuses.

KEN: Would that be in the Oscar Wilde time period?

ELIAS: One.

KEN: Cool. I’ll look in that direction and find out. I have a natural tendency to say hey, just give me the info, but it does no good because it’s more beneficial to investigate. The more you investigate, the more you fine tune the art of making the impression thing work for you.

ELIAS: Yes.

KEN: Here are a couple of dream related questions. Recently, I dreamed that I encountered Anjuli/Myranda in a grocery store in Germany. We chatted for a moment, and then we went on our separate ways. I very, very viscerally felt that I was in Germany and I was talking to her in this grocery store. After I woke up, I was really disoriented, my head was spinning, and I really felt like I’d been on an intense journey. I interpreted the grocery store as symbolic of spiritual nourishment, so to speak, and Anjuli and I would be in this store because it would be symbolic of our seeking spiritual nourishment, from a metaphorical standpoint. But basically what I wanted to know was was this a projection of consciousness?

ELIAS: Yes.

KEN: The intensity, it didn’t seem like a regular dream. The dream went into other scenarios that were kind of comical. It got crazy like something out of a movie, with me waking up in some strange house and I didn’t know where I was, and the owner wanting to know why I was there. I was like, “I don’t know why I’m here! I just want to get out of here; I didn’t come to rob your house!” Anyway, I was like lost in Germany, I guess. I guess I projected over there, but when I was there I got kind of disoriented about finding my way around. I was glad to wake up from that part of it!

Here’s another one. A couple of years ago, I had a vivid dream in which I found myself walking down a hallway in the United States Pentagon. I was accompanied by a high-ranking military official who was showing me around and expressing that he and his colleagues were pleased with my presence there. In this scenario, I was a civilian summoned to Washington to take part in government authorized psychic phenomenon experiments. This dream reminded me of the now declassified project named Stargate that the US government took part in. It had to do with the process known as remote viewing. My question is do I have a focus or counterpart who took part in this program?

ELIAS: Counterpart, yes.

KEN: Would this counterpart possibly be the man known as Paul H. Smith, who wrote a book about this?

ELIAS: Yes.

KEN: Cool, great! The other day I was walking through the bookstore, and I have this thing where a book will just jump out at you, almost like the book is calling you, in a manner of speaking. This book was by the man I just mentioned, and interesting to note that the cover of the book had a blue background with an eye on it. It was an interesting book.

Sometimes I don’t trust my impressions. I am working on trusting my impressions, and I’ve created a situation for myself where I think that I am putting too much logic in and not letting the impressions flow naturally, which I assume is purposeful for my learning in this process. Anyway, I have a knack for finding archeological artifacts solely through intuition. Is this because I have a focus who takes part in the process known as psychic archeology? There’s people who do that, who use different mental techniques for locating things. I don’t know if that has to do with that last question, about the government intelligence thing or the field where people find (inaudible) that way.

ELIAS: Yes.

KEN: Also, I’d like to ask a little more dream related info. I had an odd dream years ago; I didn’t write it down, but I remember it vividly, that I was standing in the midst of a group of prominent Nazis. All of us were having a group photo taken together. I was wondering if I was part of the Nazi group or somebody in close association with them, and I was wondering if this is a now-existing photograph that I could somehow investigate and find my way to with some intuition.

ELIAS: The photographer.

KEN: My goodness. By any chance, was I Leni Riefenstahl?

ELIAS: No, that would not be the focus.

KEN: It’s just a photographer hired to document the proceedings, then?

ELIAS: Yes.

KEN: My sister’s yard at her house is starting to make me believe that it is some kind of portal; I mean it humorously but not humorously. I keep finding things there. I was digging around in her backyard, and I came across this really unusual thing that looked like brick. It has that same kind of feel to me of something other dimensional. The weight, the density, the mass, the material it’s made out of, little flecks of metal that are in it, it strikes me as an oddity. It doesn’t seem like a piece of construction refuse. I don’t know how to explain it. It’s just a certain something about it. The impression I got when I found it, I was just kind of romantically letting my imagination flow and was wondering if it was from some ancient, ancient, ancient civilization, maybe even possibly before science realized civilization took place. Later, I pondered the possibility of this relating to The City, the city of the future, where archeological evidence of this city would be in an ancient, ancient past and placed there by our so-called future. Is there any connection to this in this brick?

ELIAS: Yes, you are correct.

KEN: No way! That is so cool! So I actually have a brick from The City as an archeological artifact relating to something that would be in our so-called future, correct?

ELIAS: Yes.

KEN: Cool! That is really thought provoking. I will give much pondering to this. I feel like this is a validation to impressions, too. A lot of times I have impressions and the logic in me will say that’s too far fetched, I’m getting off on a crazy tangent and being too imaginative. Of course, that’s a loaded question because imagination has so much more to it than we think.

ELIAS: Correct.

KEN: I guess I have a knack for discerning things that are not of this dimension just by handling them and looking at them and getting this totally indescribable feeling. All I can call it is a feeling about things.

ELIAS: I am understanding. You can also incorporate that object in association with projections, for the...

KEN: You mean possibly that I have projected and maybe recognize these objects or the essence feel or intrinsic quality or applied intrinsic as in somebody putting energy into them, and I know these things through projections?

ELIAS: Partially, but also you can incorporate the object as a focal point and an aid to generating projections yourself.

KEN: So I found something I can use as a focal point to access information in the ancient, ancient past and in the distant future.

ELIAS: Yes.

KEN: That is why I feel, when I find things like this, I get a tingling almost like I’m thrilled, like I’ve dug up a big bar of gold, because of the preciousness of it. And I guess that’s true, it is very precious to me because this could be a focal point that aids me in projection.

ELIAS: Yes.

KEN: That is so cool! I am having so much fun right now! Recently, my niece purchased a parcel of land that she’s going to put a manufactured home on. It’s 40, 50 miles from where I live, in inland Florida. She purchased a dump truck load of fill dirt, and she mentioned all this interesting stuff was in it, like fossilized shells. Marilyn and I went out to take a look at the area. Marilyn picked up a seashell, and I immediately recognized that it was either a Native American Floridian or Paleo-Indian tool made out of a whelk shell. Amazingly I was able to recognize it, because a week earlier I had picked up a book on such things from the library and spent a lot of hours reading through it. This object I picked up almost looked like it could have been the model for the illustration. A week later, I went back and found an additional 40 or 50 ancient Native American artifacts, some ways mysterious and some ways common to what you’d expect. They would make an axe out of a handle connected to a conch shell or a whelk shell. Some of these things were beautifully ergonomically designed. There was one I picked up that had a cut-away for the thumb that was used as an awl to drill holes. It was so comfortable to me, almost like it was made for me or I had made it. Any impression on that?

ELIAS: You are correct.

KEN: This is my impression: it looked to me as if it was a workshop for the tribe, and this might have been from a time before anything was written down. I might have been an instructor that taught others how to make these things. Some of these things seem to be practice examples of how to make things. Am I correct on that?

ELIAS: Yes.

KEN: I have been trying to find something to date these materials. My guess is the Paleo Era, 12,000 to 10,000 years ago, or the Mid-Archaic, 5000 to 2000 years BC. Would it fit in with the Mid-Archaic time period?

ELIAS: Yes.

KEN: The recognition factor is just amazing. These things are familiar; I know these things. Some of them look like they may have been used as currency.

ELIAS: No, not currency and not for exchange, but some of the markings are more ornamental.

KEN: I’m really drawn to it. I’d like to talk about some impressions related to some Internet friends. I feel a very strong connection to Dale/Jene. My impression is that we have shared many mischief- and adventure-filled focuses together.

ELIAS: Yes.

KEN: Perhaps Morocco in the last couple hundred years, where we were European expatriate adventurers. It was very fun and intriguing.

ELIAS: Yes, you are correct.

KEN: Do we have connections in Scotland?

ELIAS: Yes.

KEN: I was very fascinated in her being one of the architects of the Sphinx, and I was wondering if I was there in that time period.

ELIAS: Yes.

KEN: The connection is really, really strong. She’s a lot of fun. Mary/Michael, I felt like I was able to communicate comfortably with her, and I feel like we have known each other in different time periods. Is that true?

ELIAS: Yes.

KEN: Lynda/Ruther, I feel a strong rapport with her, and so I feel like I’ve got a connection with her as well. We think we have a time period in Africa when we knew each other.

ELIAS: Yes.

KEN: From an adventurous pirate standpoint, KC/Nanaiis, and she mentioned she might have been my mother at one time.

ELIAS: Yes.

KEN: The very closest is Dale. Were we ever married in a focus?

ELIAS: Yes.

KEN: Dale picked up that in most of our focuses we get along quite well.

ELIAS: Yes.

KEN: There was a workshop in ancient Egypt, Amarna, from king Akhenaten and queen Nefertiti’s time, and there were two realistic portrait busts of Nefertiti. Did I create one of them, the one missing an eye?

ELIAS: Yes.

KEN: I remember you saying that having a draw to certain times or places could be a clue to finding focuses.

ELIAS: Yes.

KEN: I have lots and lots of people that I draw to in that manner. Do I have a connection to a German artist, Gerhard Richter? (Pause)

ELIAS: You incorporate a focus that is a strong friend.

KEN: That’s somebody who’s still alive in his circle of acquaintances?

ELIAS: Yes.

KEN: Leonardo da Vinci? (Pause)

ELIAS: Family member.

KEN: John Lennon?

ELIAS: counterpart.

KEN: Thomas Edison?

ELIAS: Partial observing.

KEN: I was like a worker in his workshop?

ELIAS: No, you are an observing essence of that individual through a partial time framework of the focus, not the entirety of the focus.

KEN: Jimi Hendrix? (Pause)

ELIAS: Also counterpart.

KEN: Jim Morrison? (Pause)

ELIAS: You incorporate other focuses with that individual.

KEN: Other focuses of myself that were contemporary with him?

ELIAS: No, you and that individual share other focuses pastly.

KEN: Understood. Alice Cooper? (Pause)

ELIAS: That would be more associated with your energy and similarities of preferences.

KEN: I believe that I was present at the time of Jesus/Telleth. Am I fragmented from Telleth?

ELIAS: No, but you do incorporate a focus in that time framework.

KEN: Like I was aware of this individual?

ELIAS: Yes.

KEN: Is my sister’s yard a portal of some kind, or have I turned it into a portal?

ELIAS: You can create that.

KEN: It’s amazing the things I find by digging around in her yard, like there’s some kind of energy deposit...

ELIAS: Yes.

KEN: ...or I’m in the process of making it into something like that. It’s my own energy that’s creating that, correct?

ELIAS: There are energy deposits in that location, but you are enhancing with your energy.

KEN: My assumption is the energy deposits were put there by ancient Native Americans.

ELIAS: Yes.

KEN: Another interesting item from my sister’s yard is a small piece of fused, glassy looking material. It appears to be impact ejecta, which is created when a meteor hits earth and blasts terrestrial material into space and the material returns to earth melted. In the Yucatan in Mexico, they found an impact crater from a large asteroid that may have caused the conditions that led to the demise of the dinosaurs. They call it the Chicxulub impact event. Was that a Source Event in any way?

ELIAS: Not quite a Source Event, but what you might term to be a master event, which would be significantly altering of conditions and the atmosphere of your planet.

KEN: It would be an agreement with everything that is alive on the planet to take part in this alteration?

ELIAS: Yes.

KEN: Almost like a calling or drawing of this large rock to make these changes. Was this object from our solar system or was it other-dimensional?

ELIAS: No. This was associated with your dimension.

KEN: Anyway, I found this object in my sister’s yard, and I thought it might be from this impact event. I contacted some American scientific institutions, and my assumption is that my little object has created somewhat of an interest. Is this correct?

ELIAS: Yes.

KEN: Would it be in the realm of things, like that area in Brazil, where it disrupts the proposed timeframe of things? Does this fall into that category?

ELIAS: Yes. It may be interesting what you generate in association with these interactions in altering perceptions of what is held to be fact thus far.

KEN: So my beliefs about it will effect how they process this and come to a conclusion about it?

ELIAS: Not necessarily, but you are participating by presenting an object that may be influencing of their perceptions to be altering their perceptions of what has been held as fact thus far. But remember, facts change.

KEN: An interesting piece of the puzzle, so to speak.

ELIAS: Yes.

KEN: My assumption is that they haven’t contacted me not because they are very busy but because they are still studying this.

ELIAS: Yes.

KEN: According to science, the way pieces of Mars or the Moon get to Earth is that they have a low escape velocity and if they are struck by meteors hard enough and at the right angle, the debris can escape and get to Earth as meteorites. Is this correct?

ELIAS: Somewhat, yes.

KEN: I assume some might be dimensional bleed-throughs as well.

ELIAS: Yes.

KEN: There’s lunar meteorite called NWA 032, a very, very studied meteorite. It’s called lunar mare basalt. I have two small pieces of this lunar material. Did they get here as meteorites or are they bleed-throughs?

ELIAS: They are not bleed-through.

KEN: I have two pieces of Mars; one is very small and the other is larger. Are either of these bleed-throughs or did they get here in the conventional manner?

ELIAS: One yes, one no.

KEN: Did the larger one come as a bleed-through?

ELIAS: No, the smaller.

KEN: My daughter took that one to school for show and tell, and I’ll bet some of those shift kids picked up on that.

ELIAS: Yes.

KEN: There were two meteorites that landed in 1969, one was in Australia and one was in Mexico. The one in Australia is called Murchison. The whole town area where it landed smelled of methylated spirits and there were hovering smoke rings. The scientists found 72 amino acids in them that are not found on Earth. I wonder if that has something to do with more a bleed-through than a conventional meteorite.

ELIAS: No, actually, but is a presentment of more of your dimension.

KEN: Oh, that we’re not familiar with.

ELIAS: Yes. Your dimension incorporates much more than you are aware of, my friend, and is not limited to your planet. Your physical reality includes your universe and there is much within your universe other than merely you. Therefore, there is much that may be discovered that to this point is unknown to you.

KEN: All this stuff gives me a zest for life. There’s so much to discover. It’s all so cool.

The Allende, which fell in Mexico the same year, 1969, scientists found material in it which they think predates our solar nebula. It was material that drifted into our area as dust before the sun or planets were formed. They refer to it as stardust. Is that correct?

ELIAS: Yes.

KEN: My beloved (inaudible) meteorite that I was talking about, I purchased another one since then. Since material that is not of this dimension will not remain in ours indefinitely, does that mean that these meteorites will fade away or blink out or rust out at some future date, or will they stay longer in our dimension due to a general wide spread belief that these are ordinary meteorites?

ELIAS: That is the stronger potential.

KEN: The metal that those are made of, the high iron nickel content alloy, my impression is that this material made a very bombastic entrance into this dimension as part of a visitation when people were coming to take a look at our dimension. These items were sort of a shield from the heat and energy that were produced.

ELIAS: Partially.

KEN: Maybe part of the essence of the craft itself?

ELIAS: No, some of these objects may be associated with what you are describing in relation to the shielding element, but some are also natural elements of other areas of your physical reality, your universe.

KEN: How would that fit in, that these people collected these and used them as part of their material, or is that just part of the process, that they needed something from this dimension to make it stay?

ELIAS: In some capacities, yes, for there are some expressions or elements of other dimensions that are similar to some elements within your own. In generating bleed-throughs, in a manner of speaking, yes, you are correct, there is almost a requirement that what is bleeding through will fit in your physical dimension.

KEN: There is an oil painting I did that I think has to do with the whole Elias-Mary-Vicki phenomenon. I was talking to Mary about it. I painted it in 1976, and I never sold it. It’s sitting in my room, and I’m looking at it right now. It has a curved shape, like a framed border, oblong, with different symbols and forms on it. In the center, there is a face. My strong impression is that the portrait is not one person but two people, my translation of the twin aspect of Mary and Vicki.

ELIAS: Yes.

KEN: In the painting, off to the side are what look like glass-blown objects. They are translucent, and one is blue and one is yellow. I believe these have to do with energy centers.

ELIAS: Partially, and partially with essences associated with this exchange.

KEN: Right behind that is a little blue jewel, which I assume is your signature there.

ELIAS: Yes.

KEN: At the center of the “twins,” the face, around her neck there is a clear jewel-like object that is connected to these other items I just described, and an offshoot of that goes to a kind of cosmic-looking form in the background. I assume this has something to do with the verbal manner that she conveys the information, and the clarity of this object has to do with the least amount of distortion, from a Sumafi standpoint.

ELIAS: Yes.

KEN: Off on the side, there are the finger handles of a pair of medical hemostats. I believe this is a peripheral indication of Mary having a throat operation. Is that correct?

ELIAS: Yes.

KEN: On top of this rounded shape, there are two little spires that have beacons on them, green lights, and I’m assuming this is like an Ilda related beacon.

ELIAS: Yes.

KEN: Next to that is a blue generator type device pointing down, and this to me is your energy being exchanged with Mary.

ELIAS: Yes.

KEN: On top of that are two cars upside down, and they’ve kind of converged together in kind of a pyramid shape. This to me is an indication of conveyance of ideas and imagery, and they’re also the twin aspect of Mary and Vicki.

ELIAS: Yes.

KEN: I am so glad I never sold that painting! Neat!

My late father had a very strong knack for electronics. He worked on computer operated flight simulators that were used in the astronaut training program during Project Gemini and Project Apollo. After he passed away, I found a Cape Kennedy mission control badge from that time period, which I thought was really a neat keepsake. But now it’s disappeared; I can’t find it. My first impression is that it blinked out temporarily, and I think I will get it back. Is that correct?

ELIAS: Yes.

KEN: I think also this is a reminder to me that there are other ways to get around space, perhaps going through space. I saw it as a symbolic riddle or a symbolic message done in a very playful way.

ELIAS: Correct, and also is associated with your orientation.

KEN: The soft orientation, okay. I’ve been trying not to use that and the fact that I’m an initiating focus as a “Get Out of Jail Free” card like in the game Monopoly: “I can’t help it, I’m an initiating focus,” or “I can’t help it, I’m soft!” (Elias laughs) Instead of using that as a way for me to understand others, I was using that to get off the hook.

May I sneak one more in?

ELIAS: Yes.

KEN: Seth once expressed the concept of areas where there is an intensification of energy that is perceivable in terms of time and dimensional space. He referred to these as coordinate points. I know you’ve addressed to these before. He categorized these as subordinate, main and absolute. He stated that there are four in number and they intersect all realities. He said that ascertaining the locations of main or absolute coordinate points could be highly advantageous.

The implication is that the energy in these points is intrinsic, but I read a clarified explanation in your sessions that these are energy deposits; they are not sources of energy. The energy is put there, so to speak. My impression is that Seth, from a Sumari standpoint, was playfully imparting this information which was designed to inspire a focusing of intention and imagination that would be conducive to generating these coordinate points. This would be a mass actualization by many people who were intrigued by Seth’s designation of these points to the point of pursuing their whereabouts. Was Seth’s intent playfully in that direction?

ELIAS: Yes.

KEN: He was inspiring us to create these things, knowing they didn’t exist until we put that energy in there?

ELIAS: Yes.

KEN: When you communicate with me by flickering street lights, I call that the “call of the Wilde,” W-I-L-D-E. Do you flicker those little safety lights on the dock where I work?

ELIAS: Yes.

KEN: One night there was also a Great Blue Heron there, who I nicknamed Oscar. There is an art gallery called the Absolute Gallery on my shortcut home from work, and there is a street light there. I know you flicker it as if to say remember, there are no absolutes. Is this correct?

ELIAS: Yes.

KEN: I think I will end this now. It’s been really, really fun. I really feel like my life has been changed. I’ve thrown off various debris that’s been piled around my head for so long. I feel like there’s less thickness so that I can flow through life easier in a fun and adventurous way. My final closing comment is at this stage of the game, we’re really in some deep shift right now!

ELIAS: (Laughs) Very well, my friend! I shall be anticipating our next meeting.

KEN: It’s been really fun. I thank you very, very much.

ELIAS: You are very welcome, my friend. As always, I shall be offering my energy to you in playfulness and in encouragement. To you in great affection, au revoir.

KEN: Au revoir.

Elias departs after 1 hour, 7 minutes.

(1) The City: “This creation of the city is an actual creating. Actual individuals inhabit this ‘place’ within your future, and also within your past. This place has been created in what you view to be past, far beyond the past that your scientists recognize within their estimation of the growth of this planet. Within what you may view as a much closer future, this city becomes actualized once again, modified by you presently; modified also by your action within consciousness, within your shift.

“You alone are not the only individuals creating this city. You are individuals aware of creating this city. Many individuals contribute to this city, for many individuals are prompted by the Seers presently, within the action of the shift. Many individuals are not what you term consciously, what we may term objectively, aware of their involvement; nonetheless, they create also, within the collective consciousness. The differentiation is that you present, and those new friends becoming, are aware of what you create.” ( 9/8/96)

For more information on The City, go to http://www.eliasforum.org/digests/the_city.html

(2) Source Event: “[A Source Event] is the original, so to speak, event within consciousness that creates an interpretation within physical focus.” ( 4/10/96)

“Now; a Source Event is a movement that is chosen collectively by all of the essences participating in the reality. Source Events are of such a magnitude that none of them are entirely fully inserted into your physical reality, for your physical reality is not expansive enough to accommodate an entirety of a Source Event.” ( 6/7/03)

For more information on Source Events, go to http://www.eliasforum.org/digests/Source_Events.html

(3) A picture of Ken’s painting is online at http://groups.yahoo.com/group/Elias/

©2010 Mary Ennis, All Rights Reserved

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Copyright 2005 Mary Ennis, All Rights Reserved.