Creating without Effort
Topics:
“Creating without Effort”
“The Energy of a Musician”
Thursday, March 23, 2006 (Private/Phone)
Participants: Mary (Michael) and Anjuli (Myranda)
Creating what you want without effort; soft and common lens of perception; the new German rock musician Tobias Regner/Eliantan, his energy, his intention, his music; exploring sameness to create a balance with the exploring of differences.
ELIAS: Good afternoon!
ANJULI: Good afternoon, Elias! (Laughing) Look, suddenly I have a session with you!
ELIAS: Ha ha ha ha!
ANJULI: That was interesting, because when we talked last week I thought we have scheduled a session with Mary two weeks later and not one week and that my mother would do it, and then yesterday I discovered that it is today, and that was of course too quick for my mother, and now suddenly I have this session!
ELIAS: Ha ha ha ha!
ANJULI: Did I just not pay attention enough to the mail and that there were just 7 days between the two dates or was I previously creating that it was two weeks later and then I changed what I created?
ELIAS: You did not change what you created but you did incorporate a genuine perception initially that the time was different and in that you were viewing time differently but were creating generating discussion with myself in THIS time framework.
ANJULI: And then initially I had a different perception as to the time?
ELIAS: Yes!
ANJULI: And, Elias, last time we talked about what I created as to the unemployment office and the money and then, after our session, on one day I only had in my mind that I wanted to pay the one dollar for watching the video clips with the songs of Tobias Regner and just had that in my mind, and hey said there is a pin number on my bank account and I checked my bank account only because of the pin number not because of the money or anything, just because of this fun I wanted to create. And what do I see? Suddenly there is an income of money … Elias?
ELIAS: Yes.
ANJULI: Yes, suddenly I got money.
ELIAS: Ha ha ha ha! And surprised yourself again.
ANJULI: (Laughing) I surprised myself a lot, especially … last time we talked about knowing and trusting, and also about me … this new way of cooperating, like with the collective or even my own truths and my own beliefs and that I pay attention to what my preferences are and what my direction is.
ELIAS: Yes.
ANJULI: And I was paying attention just to that direction, and I was not thinking about money income, and it came by itself, so to speak as an award I give to myself? I pay to myself for going in this direction?
ELIAS: Ha ha! And this also offers you the opportunity to see genuinely how easily you create, without thinking and without effort, even in regard to money. If you are not concentrating upon that you allow yourself to generate what you want.
ANJULI: Ja, that was amusing.
ELIAS: ha ha ha ha!
ANJULI: And then last time we ended up with you saying, OK, we continue next time, in our next talk we continue with what we talked about at the end of the session. And at that time I thought, well, it may take a while before we do that. Ha! And then Saturday arrived and there was this show again … Oh Elias, this was so interesting. And then in the moment when Tobias and Mike stood there of course I wanted Tobias to win, and then suddenly he won. (E laughs) And I created everything, you know, everything that I wanted to create, the type of music Tobias was singing, how the whole show was, that it was not a competition and Tobias and Mike just wanted to create music for everyone to listen, and the pooling of the people and the energy and the excitement and the fun and everything, and then in addition to that he won! (Both are laughing) And then the entire week and everything that I created an experienced, and then I thought back of my session with you and our talk … how I then created everything we talked about, I mean, I put it more into experience, everything we talked about.
ELIAS: Ha ha! And I express congratulations to you!
ANJULI: (laughing) Ja, that was really great. Ja, and of course I would like to go into more details, but now first of all lots of greetings from my mother. She said she is paying attention to the wind, she would like to learn it more, to view the differences, or the energy in the wind.
ELIAS: Ha ha! I am greatly encouraging!
ANJULI: Ja, and this time verbal greetings, especially expressed by Gottlieb, verbal greetings to you.
ELIAS: And you may express my greetings and appreciation to him also.
ANJULI: (Laughs) And he says he is acknowledging you so much for your impressions (A laughs) around Gottlieb and you are so good and he wants to acknowledge you in your impressions and in how you felt into him! (Both are laughing)
ELIAS: (So?) noted!
ANJULI: And, ja, and he would like to know… now, let’s say, last time I asked you about Gottlieb and I wanted to understand how he creates and what he created or for example around the frustration he was experiencing last year, and now this obviously has changed and he is feeling different with how he creates, and how he is … reacting. So he is different around that now. (Elias chuckles) Now I do not know how to ask. I could either ask you the question that Gottlieb is a little bit more curious if you could tell him more sumafily how he is now dealing with how he is creating his physical imagery, especially with unusualness and with something that he wants to create in the moment like what he did with the gold price when he wanted that to be higher and then created that to be higher. I could ask you like that, or… ja, maybe I ask you like that. That works. Or I am curious, let’s say, from my direction, I am curious again to understand how he currently is dealing with creating like that, like something that he is desiring to create in the moment, how he is doing that and how I am doing that.
ELIAS: In not generating an expectation but genuinely expressing no doubt, merely incorporating directions of fun and playfulness without the expectation and creating in that an energy of cooperation and acknowledgement of yourselves.
ANJULI: And we both are doing that currently.
ELIAS: Yes! And in that, as you are not generating an expectation, you are allowing a free flow of your energy in a playful manner and you are not incorporating questioning what you are doing. That allows you to generate in ease and to create what you want. You incorporate the direction and identify what it is that you want. You do not question or dwell upon that subject and merely allow yourself a free flow of energy and that allows your to actually create what you want.
ANJULI: Ja, he said he does not have these expectations any more so much as he had in the past, that he wants this and this in the moment, this and this type of unusualness, although he has the direction clear within him, as I have too!
ELIAS: Yes! And that does not require constant attention for you are already aware of your intention. Therefore it is unnecessary for you to dwell upon that intention and to continue to hold your attention upon a particular outcome, for in doing that you are actually questioning your ability, and you are easily generating expectations which creates opposing energy. Whereas if you are merely clear in your intention and allowing yourself this free flow without doubting and without dwelling upon the subject, this allows you to freely create. It is more difficult to create with your attention is focused upon what you have no created yet. For in that direction you merely continue to do that, you continue to not create what you want, for what you are doing is creating pushing what you want further and further into the future, for each now you continue to concentrate upon what you have not created yet. And therefore you continue to generate “I have not created it yet”. Whereas if you are not generating that type of concentration you allow yourself the freedom to engage the process of creating what you want, although objectively it may not appear or seen that you are engaging the process of creating what you want, you actually are!
ANJULI: Now, as to creating what we want, there is this difference as to Gottlieb being common, me being soft, so creating what you want is for him creating everything into objective imagery and his actions and his objects, and for me this would be that I would create something into objective solid imagery and something into objective but not solid imagery and some things without translating into any objective imagery.
ELIAS: Correct.
ANJULI: Correct, so I can for example become quite efficient, or maybe I am already and I just have to recognize that, that a few things I may prefer to dream about them, that it is easier to have dreams at night, and some things I would be engaging in energy without objective translation at all, with some things I would be creating experiences by creating them on TV or books and then merging with these situations and there I learn something, or counterpart actions or observing essence actions and all that, and a few things I may like to create into objective solid imagery.
ELIAS: Yes!
ANJULI: And then, I guess, I have without all the time knowing objectively which ones I want to translate solid or not, I have a kind of automatic within or doing that quite perfectly?
ELIAS: (With an amused, playful, encouraging tone) yes …
ANJULI: And I can reinforce this knowing of this automatism by trusting myself and being aware that this is a choice I have all the time.
ELIAS: Yes.
ANJULI: Now, creating what we want – with creation I usually associate of course objective imagery with that but creating could also be around wanting to create certain energies.
ELIAS: Yes.
ANJULI: That is also a creation. When I create Patel being very playful with me I create, although it is all in energy, I create that energy.
ELIAS: Yes.
ANJULI: And so that for me, when I create energies like that, that feels … since I am soft, I am interested in energy, that feels very empowering for me when I create energies, and for a common, they feel empowered by creating their objects.
ELIAS: Yes.
ANJULI: Ja, and I also feel empowered when I am creating objects, like when I created the money and everything we talked about? But that is for me a choice, I can either create in objective solid imagery or in energy or both combined and that is my choice and I can feel validated by all that I do. It is all a creation.
ELIAS: Yes.
ANJULI: Aha! (laughing)
ELIAS: It is, as I have expressed previously, different lenses of perception. The common lens of perception is configuring in relation to producing, and in that generally speaking the lens of their perception focuses in the direction of actualizing in physical imagery. The lens of the soft perception moves in the direction of configuring energy but not necessarily into form. For the soft individual focuses more upon the energy and how it is configured. The common individual focuses more upon the configuration than the energy of it.
ANJULI: When I think back of the two sessions we had when you explained to me about going out to eat ice cream and incorporate my treasure hunt (on Aug. 4 and 16, 2005) I remember how I at first was challenged by what you said, and it took me a while to realize what it was about, and I think at first I interpreted that automatically as if you said something around that I “should be more common” so to speak. (E and A laugh) That was a kind of a misunderstanding of what you actually said, and meanwhile I understood. What you meant is that when I see any objective imagery through the lens of “that is a treasure hunt” and I also incorporate the awareness of that my fun is energy, then it does not matter what I do objectively and then I would not make this difference between “now I am in my apartment”, “now I am in the town”, “now I am going shopping”, I would not view that in the same way as I did in the past. I would view it all the time as me being at home with myself and focus on the energy and the fun of the treasure hunt, and that is what you were talking about. So you were actually assisting me in my soft perception.
ELIAS: Yes, in association WITH your orientation.
ANJULI: Yes.
ELIAS: Which is precisely that. Your perception creates through the lens of focusing upon the energy and how you configure it and the common lens of perception in a manner of speaking focuses upon the reverse, they focus more upon the configuration than the energy.
ANJULI: M-hm, aha. So now when I go out or whatever I do it is more of… for example when I visit my mother or do mundane actions, then there is more the feeling “ah, there is a sudden surprise in there”, or “now I can configure a future energy into that so that it is a gift from my tribe”, and it is all the time this type of perception, and that is what changes my decision as to what I do. So for example when I go out with my mother to the graveyard it is not so to speak a chore for me but I am curious because I know what is there in the future (a pavilion, a cafe and a park with a special energy) or I could meet somebody as you said and superimpose energy on this person, or whatever, so that is a different way of how I deal with objective imagery and that is why I am not so much as I did in the past “avoiding to go out because all of what I could do there is boring to me” because I had a different view of what it means to go out or what it means to do mundane action like shopping.
ELIAS: Yes!
ANJULI: Now, OK, I am fascinated by energy, but as we said, with a few desires I AM curious about creating that into objective solid imagery.
ELIAS: I am understanding, but that continues to be a configuration of energy. (A laughs) Therefore I am aware that you or any individual incorporating the orientation of soft appreciates generating physical manifestations and creating the solidness of physical objects or manifestations but in association with your perception the energy of it or the energy that is expressed to create it is actually more the focus than the creation itself. The creation itself is in your terms how you describe it to yourself, the surprise or the gift, but the process of the energy configuration is what holds more of the focus.
ANJULI: Aha! Just a second, Elias! (Turns the tape) OK. Now let’s say we take that fun example of Saturday night, when we had that music show, the final show of “Deutschland sucht den Superstar”. What I paid attention to a lot was the energy and that was what was so exciting for me because there were the details of energy, the details expressed of me connecting with Tobias Regner and the others present in the show, my own energy, the energy of the collective watching the show, how they combine, how he was singing something and in the moment of when he was singing the energy of those present or watching it changed, and the pooling of energy that started, and at the same time I was using my physical outer senses, I was aware of the objective, I listened to the music, I paid attention to how he performed, I used most of my outer senses and enjoyed them very much, and it was all combined and it was all what I wanted.
ELIAS: Yes! You were paying more attention to how the energy was configuring. Hear that! HOW IT WAS CONFIGURING, rather than HOW IT CONFIGURED. The common individual generally speaking would be paying attention to what was CONFIGURED.
ANJULI: Oh, and I paid attention to how the energy translated into imagery and how that was configuring into voice, music, people…
ELIAS: Yes.
ANJULI: …outer appearance, movement …
ELIAS: Yes.
ANJULI: … all instruments …
ELIAS: Correct.
ANJULI: Aaahh!! M-hm! And then Elias, when I was not aware that I have the session today I suddenly desired, OK, now I want to talk with Elias about the actor Holger Christian Grotha who is playing Frederic Gravenberg in the telenovela “Julia”, and then also the essence of the singer Tobias Regner, and then it suddenly occurred to me, at first I felt the energy of Eliantan, of me translating Timothy/Eliantan into Frederic for example or into Tobias Regner, and then all of a sudden I thought, OK, I have not yet thought, they could both be focuses of Eliantan. And then of course I thought “ah, but that is a wish-impression”, I wish that so much that they are focuses of Eliantan, and I wanted to ask you, but I did not have a session in that moment. And I thought I cannot wait for asking you in a session so I better pay attention. And I paid attention to two things. As to Tobias Regner, there was a member of the jury who liked him very much and gave him an guardian angel teddy bear, and her name was Sylvia, and Holger Christian Grotha has a sister with the name Silvia, and he said, when he was asked about what his dream is, “I would like to walk through walls and see the future”. (Both are laughing) Look, Elias. So, I ended up with, they could be focuses of Eliantan, but I must say I still would like to ask you.
E. ha ha ha ha ha! Not both!
ANJULI: Oh! Not both? (Elias chuckles) One of them …
ELIAS: Yes… (pause) And what is your impression? (Long pause)
ANJULI: Hm … Then I would say Tobias Regner is a focus of Eliantan.
ELIAS: Yes!
ANJULI: And Holger Christian Grotha has a similarity or reminds me of Timothy/Eliantan, and I create Timothy’s energy into him.
ELIAS: Yes. There is a similarity. But also there is your own connection. (long pause) There is your own connection with both of these individuals in counterpart.
ANJULI: Ja. Oh, that is why I created the Sylvia imagery about both of them. (my full name is Sylvia Anjuli)
ELIAS: Yes.
ANJULI: Oh! Ja, OK, OK. I am glad that it was not the other way around, I must say. (Elias laughs) Oh, Elias, but that is so exciting! OK, because now what did I create with this focus of Timothy/Eliantan, with Tobias Regner/Eliantan. Well, I talked with Timothy about him, and what Tobias created for himself was a life altering experience. And that is what I talked with you about two sessions ago about something I am about to create for myself.
ELIAS: Yes ..
ANJULI: And he went to the song contest, deciding, “OK, now I want to do something different”, and then he created something that is changing his entire life.
E. Yes.
ANJULI: OK, aha. And now, when I paid attention to the energy he generated and his way of … I thought that he was doing two actions. He is focusing on his music, on the feelings he is putting into his songs, but also he has an ability to connect with those listening, that I would call charisma, he has an ability to be generating an energy that is intensely inspiring for people, he is pooling … he has charisma…
ELIAS: Yes…
ANJULI: … and passion …
E. Yes…
ANJULI: And he is doing something in energy, he has an ability of how he is … well, he is generating lots of appreciation for the people listening, but he is doing something in energy which is entirely fascinating for me, so my first question is about what I saw, what he did in energy. I was correct in feeling into him, right?
ELIAS: Yes! He is projecting an energy of connection.
ANJULI: Ah, and that is what the people feel?
ELIAS: … engaging the music he is engaging the music and configuring that within himself and projecting out in energy to connect with the other individuals that are participating. He is generating that type of energy intentionally.
ANJULI: Aha!
E. Some individuals may engage music in different forms, and they may be connecting with the music themself. But not paying attention to any other individual within the environment. Merely absorbing themselves in the music. With that action many times other individuals listening will also connect with the music but not with the individual engaging it. In (the other?) type of situation the individual is not merely engaging the music but is also generating an action of projecting energy to connect himself with all of the other individuals that are participating. Therefore they are not merely participating with the music but also with him.
ANJULI: Ja… For example the songs he is singing. First of all I saw that he has an ease in creating support for himself from other people, who are supporting him, suggesting which music pieces he could choose or whatever, so he is generating an allowance to be assisted by others?
ELIAS: Yes.
ANJULI: Ja, and then he also …he must have a sense of knowing what would be inspiring for the connecting with the collective, inspiring for the collective and that specific time, as to … the energy he projects during the performance, and the music pieces he is choosing.
ELIAS: That is associated with intuition.
ANJULI: Oh,
ELIAS: His own appreciation of certain expressions of music, his own trust of that, and listening to his intuition in relation to how certain compositions shall be received.
ANJULI: So this must be quite a similar action to what George Harrison/ Lawrence and the Beatles did at their time with how they connected personally with the collective, with the people, and the music pieces they chose for their interaction.
ELIAS: Yes!
ANJULI: Well, then for example when Tobias Regner was singing the first song, “beautiful day” of U2, and I was fascinated by the song, the performance, everything, what he was wearing, how he was moving, his voice, the instruments, and the light-show. And he reaction of the people and the energy of the people. And that was so intensely fascinating for me. (E chuckles). This light show… what was this light show a translation of? That was in the rhythm of the music, it was about blinking, I think, maybe a speedy energy also, but… what was that?
ELIAS: And what are YOU perceiving? I would express to you that it would be interpreted or translated differently by different individuals.
ANJULI: Oh! Aha! So for me … (pause) Well, it felt like a grand cosmic energy display being translated. There certainly was this lots of blinking, but it was for me around a movement within energy …
ELIAS: And a display of excitement and connection.
ANJULI: Ja, right. And then, his next song was “purple rain” by Prince, so that is obvious. Now that was very “purple”. This was really a feeling of purple energy raining, dancing in the purple rain, dancing in the purple energy, like Ordin’s energy of appreciating of physical beauty…
ELIAS: Yes.
ANJULI: And of course around the purple energy center, but I connected it a lot with Ordin supporting the entire action of this focus of Eliantan.
ELIAS: Yes!
ANJULI: Ah ja, and then in the first song, I have not looked exactly into the text yet, but there were text pieces which were reminding me about “suddenly seeing certain landscapes”, so that is about my “patchwork of landscapes” around the Inmiland action, that you can suddenly see a certain landscape in front of you. Has he been sort of connecting in his own way with “my tribe”, this no-separation community in the future, which Timothy/Eliantan also belongs to, that Tobias was sort of connecting with that and expressing it in his music?
ELIAS: Somewhat.
ANJULI: And then the third song was his first own song, this new song “I still burn”, also a passionate song, that with red energy, so that was with Milumet energy, the second song was about the purple energy center, this one was about the red energy center, which is the one which has lots of power, so this song was an expression of that?
ELIAS: Yes!
ANJULI: OK, now his alignment. I thought about the alignment of Tobias Regner (Eliantan’s focuses are Sumafi belonging) and had a little bit of difficulties because I feel various traits of various essence families in his alignment. I could think that the alignment could be Zuli, but I also felt traits of other essence families in his alignment, like Gramada also, and some Sumari certainly…
ELIAS: Zuli!
ANJULI: Zuli, ja, but connected with the other essence families, in how he is choosing his specific focus energy?
ELIAS: You all incorporate that.
ANJULI: ja. And his orientation “could” be soft … as to … well, it seems to me that he is using the soft moments of passion for his expressing …
ELIAS: No. This individual is common but is perhaps somewhat confusing to you for he is engaging that interactive connecting. But in his perception he is in that connecting producing and this is an element of his production.
ANJULI: I see. And also interesting for me as to this focus is, I remember a while ago when I talked with you about a character in my book, Giovanni van Anderson, and I said, this is amazing, he could be a focus of you and could be a focus of me although the both of us have so different essence energies, and yet he could be a focus of both of us, and you said … what was that? You said it is around a merger or something like that, and as to Tobias I have the same feeling. He has lots of similarity in his expression to some of my male focuses. Not only that he feels very MEly to me, but he is so similar as to a focus I could generate. And he is a focus of Eliantan, So what … And Timothy/Eliantan explained something to me that it was of course purposeful that I was drawing him to me or that I created all of that because it about my interest into my identity games and my Amandine games and my explorations of my story with you and everything, that I created his energy as my own exploration of my energy, but … what … I am so fascinated by that MEliness feeling and Eliantan feeling about that focus.
ELIAS: I am understanding for you are presenting to yourself similarities and you have been presenting to yourself significant differences with other individuals and you are also presenting to yourself significant similarities in energy as a type of balance action.
ANJULI: Oh! So then all that I created… my fascination, all my emotional communications around him… well, it certainly is about my relationship with Timothy/Eliantan, and it also about the fascination of the action of this focus, Tobias/Eliantan, and it has something to do with myself and with what I am exploring as to my own life altering experiences and everything that I am doing, my story with you and everything that we talked about in our sessions.
ELIAS: Yes. (You are) offering yourself inspiration and encouragement.
ANJULI: And the individual I mentioned earlier, the German actor Holger Christian Grotha, he could be … a focus of Ordin? Or Tomkin …
ELIAS: Ordin.
ANJULI: Ordin, aha! (Chuckling) Well, maybe just a little bit as to my curiosity about … Since long I am asking myself physical senses. I don’t know what the question is. But I wanted to start asking that, when it means that when I am using physical senses and when I am not seeing solid imagery … or I don’t even know what beliefs we can use with our outer senses.
ELIAS: In what capacity?
ANJULI: When I look at something, and I use my physical visual sense and don’t see something .. maybe I have absolutes around them also and I could … once I recognize my beliefs about physical senses see you and the Patel house, or what.
ELIAS: It would depend upon what you are engaging each particular sense in relation to. That with vision is strongly influenced by associations of solidity. That what you incorporate the ability to see is related to what incorporates solidity. In some form. Just as you do not visually SEE wind. You see evidence of wind for you see physical solidity of some form move. But wind itself does not incorporate a solid form therefore you do not visually see it. This is a very strong belief associated with a physical sense, that each sense is limited to certain conditions.
ANJULI: Do we also separate the inner senses from the outer senses?
ELIAS: Many times, yes.
ANJULI: That would then also be like we separate the subjective and the objective although both are energy.
ELIAS: Yes!
ANJULI: Ah, I start to understand. … How is our story doing, Elias?
ELIAS: (Laughing) I would express, quite well, and fun. And we shall be continuing it. I shall express to you that you may offer my appreciation and lovingness to your mother. And to you as always I express great appreciation and dear friendship.
ANJULI: Thank you for all the fun we are doing. (E chuckles) You are exciting, Elias.
ELIAS: As always! (Both are laughing)
ANJULI: And please give a hug to Ordin and Patel.
ELIAS: Very well.
(Here my tape ended, but not the session. We talked about the belief system “physical senses” which are in The game related to the Zuli family, and we used examples about beliefs as to the physical sense of vision.)
Copyright 2006 Mary Ennis, All Rights Reserved.