Thursday, January 12, 2006 (Private/Phone)

Participants: Mary (Michael) and Ken (Oba)

(Elias’ arrival time is 5 seconds.)

ELIAS: Good day!

KEN: Elias, how are you?

ELIAS: As always and yourself?

KEN: Oh, just great. Just fabulous! I am so pleased to be talking with you!

ELIAS: (Laughs) And what shall we discuss?

KEN: Oh, I guess a continuation of some of the things I talked with you about in the last session, which of course is happening at this very moment. I’ll just have to take note of that, and it’s interesting to think of the spacious present of all this.

So, anyway, the last time we talked, you confirmed that the artifacts I’ve been finding out at my niece’s property are from the Middle Archaic period of Florida’s Native American inhabitation, and since then, I’m still finding objects of this sort, and the search for these objects is becoming even more intriguing to me because lately I’ve been recovering objects that appear to be animal and human effigies, as well as just objects that are tools and what not, and these are objects that are bearing of unusual patterned incisions. And so, anyway, concerning the effigies, my impression is that these shell fragments visually resemble humans and creatures. Initially, they were just fossils that these people picked up and looked at, and this inspired these artists—artisans and craftspersons—to shape these, to reinforce the images that they already were perceiving in them, so it’s sort of a spiritual type of thing in their artwork. Is this correct?

ELIAS: Yes.

KEN: Okay. Cool. Cool. Great. Great. Okay. So concerning the incised patterns, my impression is that my ancient focus lived in these timeframes—I don’t know if it was more than one focus or just one—but created these objects with the subjective intent of placing within them encodings, because this was me. And I know that I placed encodings in my artwork from this current focus, so that I placed encodings that are actually intended subjectively for me to discover in my present focus, and in the same manner that I now place subjective encodings in my artwork to be discovered and interpreted in the so-called future. Is this correct?

ELIAS: Yes.

KEN: Cool. cool. All right. Good, because I have an ever-increasing excitement when I go out there and dig for these things, and, at this point, I’ve found hundreds and hundreds of these objects, and it’s just an absolute thrill to be finding these. So I would like to ask you, just maybe some comments on some of the specific examples, if I may. Okay, let’s see, I found a tiny...are you still there?

ELIAS: Yes.

KEN: Okay, I’m sorry; I thought I was fading. I found a tiny piece of fossil Quahog clamshell; it’s carved and polished into an effigy of a manatee—also called a sea cow. Is that a correct impression?

ELIAS: Yes.

KEN: Okay. It’s really beautiful. It’s really like...it’s so tiny; it’s hard to identify unless you have really good vision, and it’s so intricate, and it’s really beautiful to me. I was very pleased to find that.

Okay, I have another piece. Here’s where I’m just trying to see if I’m correct in what the effigy was intended to be. So—excuse me—it’s an effigy of a human, and it looks like to me to be a tiny portrait and head profile of a Native American, and I also sense some connection to a culture that much, much later would be called Toltec. So, also, it appears to me that there is like little quartz inlays, or are these just pieces of debris that found their way into some of these cavities? So that’s like a twofold question. Are those actually inlays intended to be put in there, or just things that ended up in there when they ended up underground? Is this actually a portrait profile?

ELIAS: Yes, but—

KEN: Okay. Yes.

ELIAS: —the fragments were not placed there intentionally.

KEN: Oh, okay. That makes sense because I could see how that could go either way, you know? It looked like these things...that there were cavities, and the pressure seemed underground a little...tiny things that fit found their way in there. Okay. Is there any connection to the Toltec culture, or what would later be called Toltec culture?

ELIAS: Yes.

KEN: Interesting! So, once again, if I am correct, this particular piece would also be Middle Archaic time period, right?

ELIAS: Yes.

KEN: Okay. Great. Great. Okay. All right. That answers a lot right there. Thank you. Okay. Another effigy is, I believe, to be of a cat—a wild cat, like a cougar. Is that correct?

ELIAS: Yes.

KEN: Okay. Good. Another effigy is of a profile of a skull, which has a drilled hole in it for being used as a pendant, and this thing was carved cleverly, so that a natural formation of the shell, like carved away just right, represents the skull’s teeth. Is that correct?

ELIAS: Yes. You are correct.

KEN: Great. Great. The funny thing is, I’m having a hard time with this, trying to perceive what this skull is about. Would it be a human skull, or almost kind of like a hominid? I mean, not a hominid, but kind of a primate type of skull?

ELIAS: The latter.

KEN: A primate sort of skull? Okay.

ELIAS: Yes.

KEN: Would it possibly have anything to do with some of what they referred to as some of these—I hate to use this term—like Bigfoot or some of these kind of like shy, kind of like very small in number creatures that they’re (Inaudible) seen by these Native Americans?

ELIAS: No. It would more be associated with what you would identify as a monkey, which was (Pause) associated as a spiritual being.

KEN: Oh, okay. Okay. Great. Great. Would there be any physically at that time period? Any monkeys in their environment? Or would it be just like a totally, spiritually-perceived creature?

ELIAS: Both, but not as native.

KEN: Okay. Okay.

ELIAS: The creature was not native.

KEN: Oh, it’d be like something that would be perceived like travelling that took place by these natives?

ELIAS: Yes.

KEN: Okay. Great. Because I assume they did a lot of travelling. Okay. An interesting thing is—I’m going to get away from my written questions right now—this popped into my mind, and I wanted to mention, (Inaudible) I always consider this, well not a phenomenon, but these things I keep finding...is my (Inaudible) finding generating the energy that is simultaneously inspiring the creation of these objects I’m finding?

ELIAS: Partially, yes.

KEN: Okay, that’s what I thought because I was reading a recent session—a session with Margo—in which she saw some elk on the side of the road, and you refer to this, if I’m correct, if I remember this correctly, as an area of enchantment, so to speak. And I was wondering if this area that I am finding these objects—because I know they’re not far; they were removed and placed on this property in fill dirt, but they came from, I assume, not too far away—would this also fall into that category as being a sort of an area of enchantment, in which I’m not only receiving energy from, but adding energy to, so to speak?

ELIAS: Yes!

KEN: Okay. Cool. Great. Great. Okay. That’s what I thought. And one more thing, I’ve seen kind of a connection, in a way, with...I’m probably going to forget the pronunciation, but it’s interesting that you mentioned in a session, a long time ago, this area in Brazil called Piedra. I can’t remember the second word, where there’s an archaeological thing, and there’s a lot of—

ELIAS: Parada.

KEN: Oh, great. Thank you. Thank you. And there’s a controversy of the...at what time period humans habitated these areas, and I was wondering if...it’s interesting because I brought some of these objects to a Florida State archaeologist, and I was a little bit surprised. I felt, of course, I know I created this, but I was, in a way, kind of surprised, but I felt a bit of opposition by showing these objects, and partially I understand because they were taken out of their natural study environment in which archaeologists like to study things, and that couldn’t be helped because that’s the way they were found. But there was like...I felt like a kind of an opposition to what I was presenting. Is this due to the fact that I’m presenting something that’s kind of like a fly in the ointment, so to speak, or...?

ELIAS: It is more associated with you and your treasures.

KEN: Oh, okay.

ELIAS: You generate these treasures; you discover these treasures, and you incorporate a strong passion in association with them.

KEN: Yes.

ELIAS: And, therefore, you also generate somewhat of a possessive association with them.

KEN: Oh, yeah, very true! (Laughs)

ELIAS: Not a possessiveness in what you would term to be a negative sense, but—

KEN: Understood. Understood.

ELIAS: —in association with your passion and your appreciation of these discoveries, and therefore, you project a type of protectiveness in energy with regard to them, and that is received. Remember, many times, protectiveness can be an expression of opposition.

KEN: Understood. That makes absolute perfect sense because—

ELIAS: Therefore—

KEN: —I was puzzled. Yes. Yes. Yes. I’m sorry. Go ahead.

ELIAS: —it may be reflected in what you identify as opposition, which may be expressed in different forms. It may be merely expressed in energy, or it may be expressed more overtly in an expression of skepticism.

KEN: Okay. Okay. Okay. That makes sense. I’ll definitely ponder that, and I can tie that in, even if it’s only thinking I can tie that in with that experience. I came in very, very enthusiastic, but in the same way, I was kind of generating a sort of fear because I know I’m walking in with things that are probably—I’m not a scientist, and I mention that I notice these things because, as an artist, I have an eye for detail, and the archaeologist referred to me a couple of times as saying, ”You are an artist, and I believe you are seeing these through the eyes of an artist as opposed to the eyes of a scientist.” (Elias chuckles.) In so many words, that’s basically what was said to me, and I could see how I created that. I think my fear of fearing a negative response before I even showed these generated this. Correct?

ELIAS: Yes. And although somewhat of a discounting of yourself that the other individual is more knowledgeable or that the other individual is perceived more as an authority, for they generate an interest in somewhat of a different manner. They are viewing subject matter from the perspective of science, which narrows their appreciation of many objects, which that within your perception creates somewhat of a threat that they shall not appreciate in the same manner that you do.

KEN: Oh, okay. I understand that. I’m definitely going to ponder that, and I’ll rethink my ways of projecting my energy based on that because that’s really not my intent, but I realized what I was doing there, created out of...that possessiveness sort of thing. Okay. That makes sense. I thank you very much for that comment.

ELIAS: You are welcome.

KEN: Okay. Okay. Okay. So back to...let’s see, okay, here’s one more. Here’s an interesting...this is a piece of ancient fossil oyster shell that I found, and it has a natural appearance of a bearded, wizard-like man. It looks like this was enhanced by someone who noticed this and recognized the anthropomorphic shape in this and that they drilled a hole through one of the eyes—those would be where the eyes appeared in this—and then next to that hole is a tiny carved hexagonal shape, and I believe this shape was inspired by the patterns on turtle shells. Is this correct?

ELIAS: Yes.

KEN: Okay. Great. Cool. Cool. All right. Thank you. Okay. And here’s one more effigy. Some of the effigies, apparently, are related to bird shapes. Is this correct?

ELIAS: Yes.

KEN: Okay. Cool. And the final one is...I found an effigy that I believe to be an alligator head, and the funny thing is whenever I...it reminds me of the Florida College...the Gators’ football team logo (Laughs); it kind of reminds me of it. Is it actually an alligator head effigy?

ELIAS: Yes.

KEN: Okay. Cool. Cool. Excellent. Okay. Now, there’s another two objects that I found. This is a different kind of a thing. This has a relation to my finding objects from the City. I’m starting to believe there’s probably various objects from the City to be found, maybe not in abundance, but they seem to be popping up (Inaudible), so to speak...anyway, another two objects I found (Inaudible) my perception an otherworldly feel to them, and one was a small piece of black glass similar to that of a windowpane that’s very, very thick, and on the one end of the fragment, it looks to me as if it had been fashioned into a point to be used to incise cuts into some of these shell fragments, and my impression is that this glass is another example of material from the City, of the future, so to speak, that was inserted into the past, found by one of these ancient natives, who, in turn, used it as a tool. Is that correct?

ELIAS: Yes.

KEN: Cool! That is so cool! I have that. Yeah, I found that, and I looked at that, and I said it looks modern, but there’s just something ancient about it, at the same time. So this is a fragment from the City. Cool.

Okay, and then I found...see if I can find this...I found a second piece of this same glass, and it had been in a molten form, and my impression is that one of the ancients, who found this piece, attempted to temper it by heat, so to speak, in a similar fashion to the way they heated a material called Chert, which they used as a cutting or drilling tool, and that’s why this was melted. Is that correct?

ELIAS: Yes.

KEN: Cool. Cool. Very good. Very good. Thank you. Very fascinating! And I also...this is...(Laughs) God, some of these impressions are so far-fetched, but I’ve just got to mention them anyway. Also, I noticed under magnification a tiny piece of embedded material in this molten glass, and it looks very, very much like a tiny sample of Martian meteorite that I own. Is this little piece of stone something interplanetary?

ELIAS: Yes.

KEN: Is it from Mars?

ELIAS: No.

KEN: Not from Mars, okay. I’m kind of guessing here. Okay. Let’s see, maybe I should just leave it alone until I come up with an impression for it, and I’ll ask you next time.

ELIAS: (Laughs) Very well.

KEN: Okay. I think I’ll do that rather than just popping off guessing games because I have nine, no, eight more choices of a planet, so I’ll okay...I’ll ask you next time, but it’s...it would be from one of the planets, correct?

ELIAS: Not necessarily.

KEN: Oh, okay. But other-dimensional perhaps?

ELIAS: No.

KEN: No? Okay.

ELIAS: It is—

KEN: Oh, maybe like an asteroid, or that sort of thing? Aw, I’m guessing, I’ve got to stop. (Elias laughs.) Okay. Okay. I’m going to get an impression, and I’ll ask you (Inaudible). It’s something not of this Earth then.

ELIAS: Correct.

KEN: Okay. Thank you. Thank you. Okay. And, well, okay, because while I’m still on the subject—one of my favorite subjects—(Inaudible) samples from Mars and the Moon arrive here on Earth as meteorites, and we talked about this before. And so I was wondering if...are there other planets’ material to be found on Earth as well, and would that be correct, that there’s like a piece of Mercury or a piece of Venus that maybe one day will be found (Inaudible) like the Martian or lunar meteorites?

ELIAS: Yes.

KEN: Okay. Cool. That’s what I thought. And there’s an interesting...due to the (Inaudible) of Florida, very few meteorites have been found here, and my assumption that there is probably just as many here as in other places...and okay, I assume there are many meteorites waiting to be found, and do you have any suggestions on how I could fine tune my psychic archaeology abilities to find ones that I’m sure in my...you know, that there are probably some meteorites in my general locale, and I assume that a lot of it has to do with trust, of course, trust of self and—

ELIAS: Yes.

KEN: —perceptions, and also I read about some ancient cultures that worshipped meteorites—but I’ll use that as another question. Anyway, I’ll go on to the second question now. I read about ancient cultures that worshipped meteorites. Do I have a focus as one of these people, and is this, part...in part, why I’m so fascinated with meteorites?

ELIAS: Yes.

KEN: Okay. Okay. And the other thing is—I probably can answer my own question on that—I guess it would be using the concept of being, you know, psychic archaeology that it depends on how much I trust myself and my abilities in order to, you know, find meteorites that are...I’m sure are here. I’m sure there’s some nearby, you know, and I would so much love to—well, actually, let me ask that. Have I found a meteorite before? Well, I guess that little thing that’s been embedded in the glass could be, you know, fall into that category. But so many of the objects I’ve found...have I found a meteorite that I’m not aware of yet?

ELIAS: No.

KEN: Yes?

ELIAS: No.

KEN: No. No. Okay. No. Okay. I’m sorry. Thank you. Thank you. Okay. And—

ELIAS: But also, in this, my friend, remember to be generating your natural flow in allowing your passion and generating the treasure hunt as fun—

KEN: Yes. Yes. Yes.

ELIAS: —and not doubting yourself.

KEN: Exactly. Exactly. Okay. Oh, and speaking of this, I’m going to get off the...back to the...this refers to a dream. I bet you probably are already aware of what I’m about to ask you. I had a dream about 27 or 28 years ago; I didn’t write it down, but when I woke up from this dream, I had a word very, very strongly remembered, and I’ve never written it down, but I’ve never forgotten this, and I’ve always wondered about it. And I think I’ve just hit on the answer to this. This is a word that’s kind of a mutant word made out of two words, and I’ll spell it. It’s Q-u-e-h-o-g-n-i-t-i-o-n, which I’ve phonetically called Quehognition, and, at the time I had the dream, I thought that Quehog...I thought, of course, that sounds so much like Quahog clam, which is interesting because 90 percent of these objects that I’ve been finding recently which are made out of Quahog clamshells. And now I realize...in fact, when I was digging the other day, all of a sudden, the so-called answer to this dream just popped into my mind. And it was not...not mutant...a mutation of the word “precognition,” but a mutation of the word “recognition” in Quahog, and that I am recognizing these objects that I made, and I am now finding. Is this correct?

ELIAS: Yes.

KEN: Okay. Cool! Got it!

ELIAS: Congratulations!

KEN: It took a long time for that one, but I finally figured it out! (Elias laughs.) All right! That is great. That is great.

Okay. Let’s see. Let’s find...okay, okay, here’s an interesting one here I’d like to ask you. I have an impression that the state of Florida, in which I live, has a strong connection with the City, and I think, from my standpoint, it has to do with my past, present, and future connections with the City, and I was just pondering your comment, ”The largest energy deposit you have created collectively on your planet is that which you have termed to be your Bermuda Triangle.”

And so thinking on this, I once read a book many, many years ago. It’s called Conversations with Seth, authored by Susan Watkins, and she described, in this book, a dream in which she viewed a map of south Florida and the Florida Keys, and she heard a voice in this dream state say quote: ”Florida opens up inwardly as a gateway to other universes,” unquote. By any chance, was that your voice, Elias?

ELIAS: Yes.

KEN: Cool! Oh! I love it! I love it! Oh, man! I am like just grinning from ear to ear right now. That is so cool! So cool! (Elias laughs.) Thank you. Thank you. And now, I’m noticing strongly, but without a desire to be intrusive to them, my other focuses, and how I, as an initiating focus, lend energy to them.

And so my other focus...other focus of Oba, named Earl Cunningham, was also fascinated with hunting for Indian artifacts, and that, I assume, is due to our Middle Archaic—and probably other—focuses as Native Americans. And since I now know that there are encodings subjectively inserted into the art I create presently, I also assume that—of course we discussed this about the other ancient ones—but also Earl Cunningham’s focus of Oba was also inserting subjective encodings into his work. Possibly that’s related to a lot of the strong feelings I have for the Cunningham paintings that I own?

ELIAS: At times.

KEN: At times, okay.

ELIAS: Not always—

KEN: Not always.

ELIAS: —but, at times.

KEN: Okay. Okay. And, let’s see, oh, and some of these little shell pieces I’ve been finding—the Middle Archaic pieces—they remind me of little tiles, and I was curious if these are subjective representations of tiles from the City?

ELIAS: Some. Yes.

KEN: Some. Yeah. Okay. Interesting. Interesting. Great. Great. God, I’ve got...I could ponder for years on what this...this is great! (Elias laughs.) This is a lot of fun. I’m having so much fun!

Okay, as you’ve no doubt noticed, lately I’ve had quite a desire to make my presence known, so to speak, and I was wondering if I have made any contributions to the “World View Library” in Regional Area 3?

ELIAS: Yes.

KEN: Cool! Cool! Great! Oh, okay. Let’s see where I am now. Oh, okay, we were talking in the last session about a painting I created in 1976 which has a whole lot of subjective, well, now, not so subjective—consciously to me—info about the Elias Phenomenon. You mentioned that two of the orb shapes in the painting are connected to two other essences involved with this phenomenon, and my later impression just kind of popped into my mind one day. I was just sitting there, and then just, bam!, this just presented itself as like a flash of inspiration, that the two other essences are Patel and C9.

And I was curious, so recently I had the opportunity to converse with C9, who does the energy exchange through Ted, and C9 said, in her opinion, that Patel is one of the essences, but she is not.

ELIAS: Correct.

KEN: Okay. And C9 said the other person, or the other essence, represented by the orb shape, is Ayla. Is that correct?

ELIAS: Correct.

KEN: Okay. Could you tell me anything about a connection I have with Ayla?

ELIAS: Passion.

KEN: Oh, okay. Something we share as a similarity in energy?

ELIAS: Yes.

KEN: Okay. Okay. That makes sense. Cool. Cool. Okay. And I have some statistical questions for some of my family and friends...and curious about my interest in this phenomena, and everyone seems to be interested in essence names, which is...I’ve been reading about your comments on essence names and about it that we like designations and signatures and that sort of thing, and everybody’s been having a bit of fun, and curious to know their essence names, and actually, I’ll also ask in the sense of I’ve been trying to feel out with my impressions to understand some friends and family by getting impressions on what their essence family and alignment is. So, can you hold?

But before I do that, let me backtrack a little bit, back to the City again. My friends, K.C. (Nanaiis) and Michelle (Evelyn), each found objects that they have feelings that they might be from the City. K.C. found a brick that she just doesn’t know where it seemed to have come from, and Evelyn found, on the beach, an interesting brick-like rock. Are either of these objects from the City?

ELIAS: Both.

KEN: Both! Cool! I can’t wait to tell them! Because I had to...because K.C. said that, she goes, “This brick is so new looking. I’m not really sure.” I said, “I don’t know. It’s something. When you told me that, I had just this feeling that it was.” Cool. I will contact them both. They will be quite intrigued to hear that. Great. Okay.

So now some information on essence names, etc. I have a friend named Sara, and she is appearing as a portrait face in my first oil painting in 27 years, so I have an impression on her family alignment: Zuli/Sumafi.

ELIAS: Reverse.

KEN: Oh, Sumafi/Zuli. Okay. Reverse. Okay. Write that...scratch that down real quick. All right. Okay. And her essence name, please?

ELIAS: Essence name: Engle, E-N-G-L-E.

KEN: Cool! Thank you very much. Okay. And my sister, Mary, my impression of her essence family and alignment is Borledim. Mary feels strongly that she’s related to Borledim and Ilda.

ELIAS: Correct.

KEN: Okay. Great. And her essence name is, please?

ELIAS: Essence name: Hoyle, H-O-Y-L-E.

KEN: Cool. Okay. Great. Thank you very much. And my former wife, Sherry, my impression is that she Gramada/Vold.

ELIAS: Correct.

KEN: Okay. Great. And her essence name, please?

ELIAS: Essence name: Sartha, S-A-R-T-H-A.

KEN: Okay, we got S-A-R-T-H-A, correct?

ELIAS: Yes.

KEN: Thank you. Okay, then, my niece, Jane, I believe she is Tumold /Gramada.

ELIAS: Correct.

KEN: Okay. Good. And her essence name, please?

ELIAS: One moment.

KEN: No problem.

ELIAS: Essence name: Alexa, A-L-E-X-A.

KEN: Thank you very much. Okay. And her boyfriend Daniel, I would just like to ask a question about him. He feels a very strong connection with Hannibal. Is there any connection between Hannibal and he?

ELIAS: Counterpart.

KEN: Cool. And his essence name, please?

ELIAS: Essence name: Drieno, D-R-I-E-N-O.

KEN: Thank you very much. Okay. And my niece Jane was curious about her very best friend, Michelle, and also a new friend that she works with named Christopher, who’s a co-worker, and that they feel very, very close connections. Would this be due to many shared focuses?

ELIAS: And also counterpart action.

KEN: Oh, these are all counterparts?

ELIAS: Yes, and they do incorporate many focuses together.

KEN: And also many focuses.

ELIAS: Yes.

KEN: Okay. Cool. And Michelle’s essence name, please?

ELIAS: Essence name: Rougue, R-O-U-G-U-E.

KEN: Great. Thank you. Okay. And Jane’s friend, Christopher’s essence name, please?

ELIAS: Essence name: Yawlynn, Y-A-W-L-Y-N-N.

KEN: Cool! Thank you very much. Okay. I have two more. These are my friends, Carter and Joanna, and Carter, I believe, is essence family Zuli, aligned Vold. Is this correct?

ELIAS: Correct.

KEN: Great. And Carter’s essence name is?

ELIAS: Essence name: Hannell, H-A-N-N-E-L-L.

KEN: Cool! And there’s one more. This is Carter’s partner, Joanna, and I believe she is Sumafi/Sumari.

ELIAS: Correct.

KEN: Okay. And her essence name, please?

ELIAS: Essence name: Griegore, G-R-I-E-G-O-R-E.

KEN: Great! Thank you very much. I appreciate that. Okay. I...let’s see, okay, a while back, in my very first session, when I talked to you, I had a playful message from you where you did an electronic alteration of my DVD player. I saw the word “Jenny” and, you know, the Harry Potter character, but I’ve never read any of the books, so I’m assuming this is the word “Jenny,” and I was informed by some of the very staunch Harry Potter fans (Laughs) that this actual character’s name is Ginny, G-I-N-N-Y, and I thought I saw the word “Jenny.” So did you...I know you created this phenomenon, but did you create the word “J-E-N-N-Y,” or did I just perceive Ginny as “Jenny”?

ELIAS: The latter.

KEN: Oh, okay, I...it showed Ginny, but I perceived that as “Jenny.”

ELIAS: Correct.

KEN: Okay. Great. Thank you. Okay. Let’s see...okay, okay...see where I’m at here. I’ve got a couple more things here. Oh, okay, this relates...this is a question for Dale (Jene). This is on December 20th, the day—I can’t remember if it’s the day of the or the day after that Daryl (Ashrah) disengaged—and Jene wanted to know if on that morning, before the news got out, that she received an energy expression that morning from Daryl.

ELIAS: Yes.

KEN: Yes. Okay. That’s what she thought. Okay. I’ll tell her that. Great. And I...the painting that you referred to earlier that has all the information about the Elias Phenomenon, I had named that painting ”A Shifted Actuality,” as a title, many years after I created the painting, but before I started becoming familiar with the Elias Phenomenon. Was this title, as a painting, inspired by Daryl?

ELIAS: No.

KEN: Excuse me?

ELIAS: No.

KEN: No? No? Okay. And she had this impression—well actually, for perceptions of future times and her Shift Assist concept—and she described these people that were dressed in kind of like...looked kind of like Boy Scouts dressed in khaki, but I had a strong impression that I was one of them; I was the one flashing the Peace sign in her image. Is that true?

ELIAS: Yes.

KEN: Cool! I thought that was me! Yep, that’s me! (Elias chuckles.) Cool! All right. And, okay, I wanted to ask...oh, this is interesting. Dale (Jene) once had a focus...or I mean has a focus as a courtesan, and I got the impression that this focus of hers wrote a biography, but the biography remained unpublished, and the title of this was called, The Eros of my (Inaudible). Is this correct?

ELIAS: Yes.

KEN: Cool. Thank you. Okay. Let’s see. Okay. I found this also digging in my sister’s yard. What an amazing thing. It’s definitely...I’m making that into a portal, so to speak. (Elias laughs.) I found this very unusual lock-like thing. I don’t know how to describe it. It’s very black; it looked like it was tooled, like somebody had cut into it for some reason, like it’s some kind of other-dimensional industrial by-product or something. It has an interesting tetrahedron shape that almost looks like the shape...like this thing was in a non-solid form-not like molded—but just like non-solidity in the tetrahedron...the tetrahedron shape just kind of separated from it, and you could see the impression of where the origin of the tetrahedron was. Do you have any comments about this rock? Or opinion of whatever it is?

ELIAS: The configuration of it is other-dimensional.

KEN: Okay.

ELIAS: It is not an other-dimensional material, but the configuration of it is.

KEN: Interesting! That’ll give me something to ponder there. Very interesting! (Elias laughs.)

Okay, there’s another interesting...that may relate, in...and I can’t remember the time period, but within maybe the last ten years or so. In Spain, a couple driving down the interstate, and, all of the sudden, this rock, out of nowhere, just crashed through their window, and it was near the town of Getafe—I don’t know how to pronounce it—in Spain, and I refer to it as the Getafe Rock. It’s never been classified as a conventional meteorite because it lacks some of the characteristics. It seems to have otherworldly, some either extra-dimensional characteristics, but also terrestrial characteristics, and my impression is that this is other-dimensional material.

ELIAS: Yes.

KEN: Okay. That’s what I thought. Okay. And when I first talked to you, I gave you an impression of my essence name, and I thought it might have been Baga, B-a-g-a, and you said that was a focus name, and interestingly enough, is there any relation to this name Baga in the Tocobaga Indians?

ELIAS: Yes.

KEN: Okay. By any chance—I’m throwing out a guess here—(Inaudible), was my name Baga the inspiration for the name of this tribe?

ELIAS: The reverse.

KEN: Oh, I took my name from the tribe, as a member of this tribe.

ELIAS: Yes.

KEN: Okay. Great. Cool. Okay. Cool. All right. Let’s see what I’ve got here. Oh, very interesting, I almost forgot about this. I had a very, very unusual, very, very vivid and strange dream recently, in which I was in the...I knew myself to be in something that would be considered the future from my present standpoint. I was with a large group of people, gathering at some sort of convention, and I was thinking I was in a vehicle, and I was driving—some people were driving me someplace or were going to return me to the convention—and a couple of the things I remember was there was like...everything was very futuristic, and it was almost like based on ancient like Greek and Roman architecture and whatnot. There was like these columns, and everything looked like it was made out of marble, but there was this very big, huge, strange spoke wheel-like object, and it was kind of pointed towards the sky. Was this some kind of future piece of high technology or something that was actually done for just for the aesthetic reasons making it look like it was ancient?

ELIAS: Yes.

KEN: Okay. Cool. That was...oh gosh, I wish I could have a movie of that; it was so vivid, so beautiful! And there was another interesting thing, is I got a cell phone call. Cell phones were evidently still around. It was the strangest cell phone, because when I picked it up and started talking to the person that I was conversing with, all of a sudden, their image appeared before me like a hologram, and I was talking to them through the device. Is that something that would also exist then?

ELIAS: Yes.

KEN: Cool. Okay. Great. Great. Okay. Excellent. Let’s see—

ELIAS: In actuality, that is an object that will be inserted into your official reality in what you would term to be near future.

KEN: Cool. Looking forward to it. Great. Great. And, okay, okay...oh, this is...yeah, I just thought of something. It’s kind of a...okay, a while back, Dale (Jene) recommended to me an interesting movie that she discussed with you one time called What Dreams May Come, and she recommended it. And so recently, I purchased a copy of that movie, and for some reason, I kept putting off watching it. And then recently, I said, “Oh, okay, I’m going to watch this,” and I watched it, and I became very, very, very tearful watching this movie. It brought out a lot of emotion in me, and the impression I got from that movie is a kind of a representation of another focus in which Jene and Oba were married, and one of them disengaged prior to the other, and there was terrible stricken grief in the one that was still in physical. Is that correct?

ELIAS: Yes.

KEN: Okay. That’s why that strong emotion came out of that because...I mean, I’ll, you know, shed a tear, occasionally, but I’ve never openly, ever in my life, openly cried so much in a movie, and that was interesting. Do you have any comments on this?

ELIAS: (Chuckles) Perhaps you may choose to investigate that focus.

KEN: I think so. I think so. Okay. Just a little hint here. We were married at the time. Are we of the same genders we are now, or was it reversed?

ELIAS: The same as present.

KEN: The same as present. (Inaudible) Okay. Great. All right. Let me look over everything here, see if I’ve covered...let’s see, oh, oh, yes, could you just make any brief comments on...I recently met Ted and Lynn, and I recently met Opan and Iona, and I felt very, very comfortable with them. Obviously, we’ve probably, you know, shared focuses together or whatnot. Do you have any comments on our recent meeting?

ELIAS: In what capacity?

KEN: I would say just the...just the draw of energy and the feeling of recognition and that sort of thing or the feeling of friendship. (Inaudible)

ELIAS: It is camaraderie that you experience, for you share common interests, and you have also shared other focuses with each other. Therefore, there is a recognition of familiarity.

KEN: Okay. Okay. That makes sense. Okay. Great—

ELIAS: This is not an unusual occurrence with individuals within this forum as they objectively meet each other, physically.

KEN: It’s like a reintroduction to a long lost friend, so to speak.

ELIAS: In a manner of speaking, yes.

KEN: Yes, in a way, even though, I guess subjectively, all of us have probably been in very much contact. It’s amazing, because I read the interesting information on the list, and so many times, something or somebody will ask or make some comment, and I’ll like, ”Wow, that answers the question for me right there. I was just thinking about it.” It’s funny, you know, how it all connects. (Elias laughs.) There’s definitely a lot of subjective things going on, I would imagine.

ELIAS: Yes, and you are all very interconnected.

KEN: Okay. Oh, one last thing I’d like to throw in here; I believe I’ve covered everything. I had like twelve pages of questions. (Laughs) I hope I haven’t gone over my time limit here. (Elias laughs.) I was joking with Mary beforehand, and I said the good thing about an Oba session is that it’s very easy on your vocal chords because I talk so much. (Both laugh.)

Anyway, okay, I’ll make this my final question. I have a piece of my beloved (Inaudible) meteorite, which you confirmed to be OD material, and on this one particular piece, there’s really interesting little markings on there. You know, at first, I thought that maybe it was some molten shape of the emergence into, you know, physical atmosphere type of thing, but it almost looks like...it’s kind of like it could be construed as symbols or some sort of thing. I was wondering if there’s a possibility of this piece of metal retaining some of its characteristics of its, maybe, language or designation symbols or something that relate to the dimension it came from.

ELIAS: Of its origin. Yes, you are correct.

KEN: Cool. Cool. Really neat. Really neat. The first time I looked at this, I was saying, “Okay, this almost looks like a symbolic language, so to speak.” Correct?

ELIAS: (Laughs) Yes!

KEN: Great! Thank you very much! That’s great. Oh, it’s just...oh, Elias, I can’t thank you enough! This has been just so much fun. Wow! Life has just become such a treasure!

Speaking of which, a few months back, I was walking along; I found a diamond on the ground, which I thought was a piece of costume jewelry, and it sat around for a long time. I had it checked at a jeweler, and it turned out to be a half-carat diamond. So let me throw one more in there, of course. Is this something that blinked in or just a fortunate find because I have an eye out for finding treasure or something.

ELIAS: (Laughs) It is not an unusual find for you, for you are continuously creating treasures. (Laughs)

KEN: That’s how I feel. I feel like I’m just like...the next thing, you know, things are just going to pop up into my hands. I won’t even have to think for them. (Inaudible) (Elias laughs.) Great. Okay.

Elias, I thank you very, very much, and I’m looking forward to our next conversation. Thank you very much!

ELIAS: Very well, my friend, and so shall I, and I shall be expressing playful energy to you in the interim time framework. (Laughs)

KEN: Okay. I’ll be looking forward to it. I’ve been noticing some interesting things with the lights and whatnot, so, yeah, I’ll be looking forward to more of that. It always makes me smile. So thank you, again. I appreciate it. (Elias laughs.)

ELIAS: Very well, my friend. To you, in tremendous appreciation and affection. Au revoir.

KEN: Au revoir.

(Elias departs after 47 minutes.)

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Copyright 2006 Mary Ennis, All Rights Reserved.