Session 201401071

Navigating Landmines: An Avatar Game


“Navigating Landmines: An Avatar Game”
“Evaluating Triggers”

Tuesday, January 07, 2014

Participants: Mary (Michael) and Terri (Uliva)

ELIAS: Good morning!

TERRI: Good morning.

ELIAS: (Laughs heartily) And what have you been accomplishing?

TERRI: Much pondering.

ELIAS: Ah! Pondering.

TERRI: Tapping into my Einstein… Was I observing of Einstein?


TERRI: I've been really tapping into him, turning this whole game idea over in my head and looking at it.

ELIAS: Tremendous!

TERRI: Yeah.

ELIAS: And how are you proceeding with this game?

TERRI: Well, I had a couple of questions.

ELIAS: Very well.

TERRI: So, I set an intention. Let me use eyes as an example. I wanted to use something to do with my physical body and then something outside of my body. I set an intention that I want my eyes to go back to their normal state. So that intention goes up to the command center, where my observing self is looking out at all the probable haves and situations to get me there, it says, “Okay, got it” and I let it go. Now, what exactly happens? If I completely trust it – which I think I've moved way, way more into that and observing self do that – each time the cells blink in and out, do less cells that are causing the swelling in the eyelids come back to that area? And do less cells come to the scar tissue behind the eye?


TERRI: So there are actual cells?


TERRI: Okay. So is that what's happening, is that each time they’re coming back they’re like, “Okay, she’s still on track, let cells come back”?


TERRI: Okay.

ELIAS: Now, also recognize, in this scenario if you are looking at it from the perspective of what you expressed the command center.

TERRI: Yes. (Chuckles)

ELIAS: In that, in your game and your command center and your observing self, your avatar is expressing a want and a direction and is moving in a direction, and the observing self in the command center recognizes that direction and is responding to that and is directing it and is moving in expressions such as instructing cells or moving in certain directingness, aspects –

TERRI: Or like creating different inspirations, like…


TERRI: Like okay, I've attracted free medical insurance.


TERRI: So I've attracted being able to go to an eye specialist for free.


TERRI: Not necessarily that that's what curing it –

ELIAS: Correct, but it is moving in that direction. Yes, correct. Therefore, different aspects are presented to you as the avatar, different expressions are drawn to you, and in that, you are addressing to each new situation, but also simultaneously, with each choice that you generate as the avatar, it also continuously is signaling the observing aspect – the observing self, so to speak – and therefore you may be moving in the direction [that] the observing self in the command center is presenting you with different imageries and expressions that are reflecting what you want and your direction and you are continuing to move in that direction, but in moments you may deviate.

TERRI: With the landmines.

ELIAS: Yes. (Terri laughs) And when you deviate, that sends a different message to the command center in which now the command center must alter the path to accommodate what you changed.

TERRI: Right. So you’re really working… I know it's one.


TERRI: That you’re really working in tandem with the command center.

ELIAS: Yes. Yes. But I am understanding how you are presenting this to yourself in the form of the game, and that may be efficient and effective to understand the mechanics of what is occurring, and in actuality a much more fun manner of addressing to it.

TERRI: And it's easier to let go, so I feel like, there again, moving in the direction of going back to appearing normal. Is that…?

ELIAS: Yes, I would agree.

TERRI: Okay. So, I guess in talking to you and asking, “Okay, what can I do next?”, it's kind of asking for a cheat part. (Both laugh)

What exactly is going on now? I've had this huge revelation, it's much easier for me to say, “Go ahead, observing self, let's go,” and I’m paying attention...

ELIAS: Now stop! We are addressing the game, the command center, the avatar, the scenario.

TERRI: Correct.

ELIAS: And landmines.

TERRI: Right.

ELIAS: Now; in the overall picture, in relation to what we have discussed previously, one factor that is a component in the direction directly in relation to physical expressions such as your eyes was learning how to relax, in your terms, and practicing relaxing, Therefore, in relation to that, a landmine could be viewed as agitation.

TERRI: Right. Which – okay now, is agitation synonymous with irritation?

ELIAS: (Pause) No. But it can be.

TERRI: But in this case it's not.

ELIAS: (Pause) I would express that agitation in this present time framework can be irritation, frustration and restlessness.

TERRI: Okay, so are we directly talking about my roommate situation and my wanting the campground? Those two main factors?

ELIAS: The campground, yes. What is the situation with your roommate?

TERRI: Well, she's this incredibly, huge, lazy fucking pig.

ELIAS: Ah! Therefore, the situation has changed.

TERRI: And I’m severely irritated.


TERRI: I've identified four associations that I feel are the main associations. I feel one of them is, in watching myself observe at a place in my reactions, one of the main associations is that it's mine and not hers. And that since it's mine, it should be my way. The reflection of that –

ELIAS: Referring to?

TERRI: Well, one of the reflections of that is her not cleaning anything, because the reflection is she says, “Well, it's yours, you clean it then.” (Laughs)

ELIAS: Ah! Therefore?

TERRI: So I think that's one.

ELIAS: Therefore, property.


ELIAS: Oh, very well.

TERRI: All right, so I think that's one. I think another is an association I have with fat people being incredibly lazy. And I think another one may be tied in to my kids and respect, in that when they were growing up they did nothing to help around the house, therefore my perception was they didn't respect me, so I think that's another association.

ELIAS: Therefore you are equating respect with…?

TERRI: Helpfulness.

ELIAS: Very well.

TERRI: And there is one more. I'll think of it. So those are three that I feel that, you know, you can't practice something if you don't create the situations to observe it and trace back the associations, so I think that's part of it is that I'm wanting to discover these associations and attachments.

ELIAS: Correct.

TERRI: Okay. I think the fourth part of it is I may be creating the increased irritation because I may… Like you said “restless,” I may be restless for a change.


TERRI: Okay. So that's the main four that I've identified.

ELIAS: Excellent!

TERRI: Yay! Now is that all of them?

ELIAS: I would express congratulations. That is excellent that you have generated that awareness and identified, and that allows you to address.

TERRI: Which is where I’m getting stuck. (Laughs)

ELIAS: Which is the ...

TERRI: Because all I'm doing is getting quite irritated.

ELIAS: But this is the factor of the game.

TERRI: Right.

ELIAS: Now; in this, each of those is one of the landmines.

TERRI: Right.

ELIAS: Therefore, you have identified them, therefore you can see the landmines.


ELIAS: Whereas previously perhaps they were hidden, or underground.

TERRI: Right.

ELIAS: But now you can see them.

TERRI: Right.

ELIAS: Now the situation is as the avatar, not directly walking towards each landmine and stepping on it.

TERRI: Right.

ELIAS: And recognizing, “It is there, I see it,” and moving around it rather than stepping on it.

TERRI: Right.

ELIAS: I would express that the command center has been helpful in you becoming aware of those landmines, and now they are visible.

TERRI: Right.

ELIAS: Now the command center is waiting to observe what you do, whether you STEP on them.

TERRI: And I'm waiting to hear what they’re going to tell me to do (laughs).

ELIAS: And the command center is expressing, “You can see the landmines, move around them. Do not step on them.” For stepping on them alters the direction, and in that, you create an enormous crater, and now you must move around the crater rather than around the small landmine.

In this, for instance, with your eyes, the agitation in any form is stepping on a landmine.

TERRI: Okay.

ELIAS: And that signals the command center, “Now we must maneuver around that and reinstruct these cells, these atoms and the structure of the eye to allow it to be less inflamed or less irritated, for now she has stepped on the landmine.” And in that, –

TERRI: So right now I haven't stepped on any of the four landmines. I’m close….

ELIAS: You are definitely close. (Terri laughs)

TERRI: But I haven't stepped on them.

ELIAS: What I would express is that your foot is hovering. (Terri laughs) You are very close.

TERRI: Okay.

ELIAS: But no, you have not blown yourself up.

TERRI: All right, so now what do I do? How do I move myself...?

ELIAS: Move your foot away from that landmine. (Terri chuckles) Recognize those triggers with those associations, which you are already beginning to do, which is the reason that you have not actually stepped on it.

TERRI: Okay.

ELIAS: In that, recognize that you are being triggered. Acknowledge that. Remember: This is very important. The acknowledgement of what you are feeling and what you are expressing is very important.

TERRI: I think I have been doing that.


TERRI: Would you say that the appreciation, the acknowledgement is like lubrication that keeps you moving forward?


TERRI: Okay.


Now; once you are acknowledging of that, it is not merely a matter of acknowledging it; it is a matter of also engaging action. Just as in the game, it is not enough for the avatar to be standing over the landmine with their foot hovering –

TERRI: Right.

ELIAS: – indefinitely.

TERRI: Right.

ELIAS: It is necessary for the avatar to move.

TERRI: Right.

ELIAS: In this, the movement is the action of moving around the landmine, which is recognizing what your reactions are to the imagery that you are presenting to yourself. Recognizing that yes, there are associations, yes they are being triggered, and yes you are reacting to them.

This is very important, to stop reacting and to begin moving in the direction of choices: “Very well. I recognize this is an association. I am being triggered. I am becoming agitated, irritated, frustrated. This is NOT moving me in the direction of relaxing. In this, what are my choices? – MY choices, not what do I want the other individual to do or not do.”

TERRI: Right.

ELIAS: “What are MY choices in this situation? What would be comfortable for me?”

Now; in that, obviously you incorporate several different directions in relation to your choices. None of it is black and white or either/or. Therefore, it is a matter of evaluating. One of the triggers that is occurring involves your roommate – or several. In this, addressing to each trigger, you can evaluate: “Do you want to continue with this roommate or not?” That is the first question. That is the base question. For, the answers and the next questions that you present to yourself will hinge upon whether you want to continue with this individual or not. If not, then it is not necessary to evaluate any further in relation to the triggers that are occurring in relation to that individual; it is a matter of merely discontinuing interacting with that individual.

But if you choose yes, you do want to continue with this individual – even if it is temporary, even if you are not expressing that you indefinitely want to, but even if you want to temporarily, even in a short temporary situation, for that means you are continuing to interact and engage.

TERRI: Right.

ELIAS: In that, –

TERRI: So let's say for now I do temporarily want to continue engaging her as my roommate.

ELIAS: Yes. Then you evaluate these triggers and what are YOUR choices in relation to these triggers – remembering, it is about YOUR choices. You expressed one association that fat individuals are lazy.

TERRI: Right.

ELIAS: You have no control over the weight of another individual.

TERRI: Right.

ELIAS: You DO incorporate choices in relation to how you perceive the other individual and what influences you are expressing. For you are participating with the other individual, therefore you are projecting an energy that is influencing. If you are projecting the energy of “fat individuals are lazy,” you are projecting an expectation for her to be lazy.

TERRI: Right, which I understand.

ELIAS: And she will be.

TERRI: (Chuckling) And she is.

ELIAS: For you will reflect that.

TERRI: And I see that. I understand, and I know that I’m doing that.

ELIAS: In a situation such as that, let's use that as an example. You express to yourself that this is an association. Does that mean it is absolutely true and correct? No. Are there individuals that are what you perceive to be fat that are not lazy? Yes, of course there are. Does that necessarily apply to this individual? Obviously in your perception thus far, no.

TERRI: Right.

ELIAS: But – you also are aware enough to know that it is not a blanket statement to all individuals.

TERRI: Right.

ELIAS: Therefore if it is not an absolute, you can alter your perception in relation to this one individual regardless that you already perceive them to BE fat and lazy.

TERRI: Right.

ELIAS: How do you do that? You focus upon other qualities. You focus upon other expressions – not expressions that validate lazy. (Terri chuckles) For you are validating the lazy by paying attention to any reflection that she is offering to you that expresses any form of being lazy. You will immediately notice that.

TERRI: Right.

ELIAS: It is a matter of moving your attention in a different direction. What else does she express? “Lazy” is not the sum of her being. It may be the sum of what you are paying attention to, presently.

TERRI: Right.

ELIAS: But that is not the sum of her being. Therefore, it is a matter of if you are choosing to continue with this individual, it is a matter of YOU paying attention to what YOU can move forward with, and in that, moving your attention away from the factors that keep you hovering over the landmine.

Continuing to pay attention to any and every expression that suggests “lazy” keeps you hovering over the landmine. Therefore, it is a matter of moving your attention.

What drew you to this individual initially?

TERRI: She seemed to me to be more like where I was from in Virginia. (Pause) I guess that's the best way I can sum it up. She seemed to be…

ELIAS: A cultural aspect.

TERRI: Yeah, more familiar. So my perception was that she would behave more like someone that I’m familiar with from that area.

ELIAS: Very well. Therefore, a cultural commonality.

TERRI: Right. It’s not like she's a slob; she’s neat, but she's not helpful.

ELIAS: Stop with that. Stop. One moment.

Now; listen to what you express. You are generating an acknowledgement.

TERRI: Right.

ELIAS: “She is neat.”

TERRI: She is neat.

ELIAS: But you focus upon “She is not helpful.”

TERRI: Right. (Chuckles)

ELIAS: Or “She is lazy.”

TERRI: Right.

ELIAS: No. It is a matter of moving your attention and paying attention to those qualities or those factors that you were drawn to before you began moving in the direction of perceiving her to be only fat and lazy.

TERRI: Well, I tried to picture her as something that I like that moves really slow like a tortoise or a sloth. (Chuckles)

ELIAS: Which you can.

TERRI: Which helps.

ELIAS: Now, in that, –

TERRI: And so I’m finding myself doing all the physical stuff.

ELIAS: Now, stop again! Stop. That is moving back to hovering over the landmine.

TERRI: I understand. That's what we are working on here.

ELIAS: In this, in addition to moving your attention to other aspects of her, which will allow you to move in a direction of crediting her rather than de-crediting her, and if you can credit another individual you can cooperate with them.

TERRI: Right.

ELIAS: Therefore, how would you cooperate with her? What would you express?

Let me express in this manner: You are an individual that naturally appreciates and flows with structure. You flow with structures.

TERRI: Structure as in routine?

ELIAS: It can be routine, but not necessarily. You flow well when you incorporate a structure in any situation. You know what to do, when to do it, how to do it.

TERRI: Okay.

ELIAS: In this, acknowledging your flow that you are an individual that flows naturally and well with structure, what would be an avenue that you could create a structure that would include her and would be comfortable for you?

TERRI: Well, my thought this morning was suggesting creating a flow chart.

ELIAS: Excellent. Excellent! That is precisely in the direction that I am referring to. That is a structure, and in that, you are setting guidelines for yourself, not her.

TERRI: Right.

ELIAS: Hear that. For it is very easy to move in the direction of thinking that you are setting guidelines for her by setting a chore chart, a chart for her.

TERRI: Right.

ELIAS: No. You are setting a guideline for yourself that you are moving in your natural expression of structure. You are designing a chore chart which you are including her in. It is not for her; it is for you. It is a physical expression of structure that is more comfortable for you, and you are including her in your action, which creates a very different energy than you are creating a chart to give to her for her to follow.

TERRI: Right.

ELIAS: That is a very different energy.

TERRI: Would you suggest developing it together, or me drawing up and saying...?

ELIAS: I would express that you can do both. You can initiate it, for is your idea and it is your structure.

TERRI: Right.

ELIAS: Therefore, you can generate a prototype.

TERRI: Okay.

ELIAS: And present it to her and offer her the opportunity to participate and be included. Therefore you are not dictating, but you are including her in your expression and therefore allowing her to express suggestions also – which, once again, is very different from dictating. Remember: In this in imagery, if you are viewing it from the perspective of the game, she is one of the landmines.


ELIAS: Therefore, you cannot dictate to the landmine. (Terri chuckles) What you can do is you can move around it or you can disarm it, or you can reconfigure it, but you cannot dictate to it. It will function in the manner that it was designed to function. And if you step on it, it will blow up.

Therefore, it is not a matter of dictating to her but disarming the explosive by cooperating and including her in your structure.

Therefore, what you are doing is you are placing yourself first, you are paying attention to you and what flows with you and what is comfortable for you, and therefore you are addressing to your own energy and you are including the other individual. You are inviting them to participate with you and to cooperate with you. It is an invitation, not a dictation.

TERRI: Okay. All right. And this could be with any illness or whatever. I've chosen my eyes because I'm very aware of them and I'm aware of whether they’re getting better or not. It's a bigger indicator to me. That's why I've chosen this?


TERRI: Okay.

The other thing I was wondering was, if we had no energy to release, would we cry?

ELIAS: Excellent question! (Pause) Yes. Yes, you would. It is an excellent avenue for releasing energy, but that is not its only function. It is not ONLY to release energy.

TERRI: (Emotionally) Is that why I created seeing the homeless man with that poor dog out in such cold weather, begging? Did I draw that to me to create crying to release energy?

ELIAS: (Pause) Partially. But this would also be an excellent example of your question. Partially yes, partially no. Partially, you drew that to yourself in engaging your empathetic expression.

TERRI: For the dog?

ELIAS: For the most part, yes.

TERRI: (Emotionally) And the dog was choosing, cooperating in that situation?

ELIAS: Yes. But in that, it also emphasizes differences and choices, and just as you are drawing to yourself the presentment to see your associations and your triggers to be aware of them and therefore see those landmines, this is also another association that you generate very strongly in relation to these differences. You and I have discussed this many, many, many times. Your perception is very strong in relation to what you deem to be good and bad and acceptable and not acceptable, especially in relation to animals.

TERRI: So part of it’s working on acknowledging that?

ELIAS: Yes. And relaxing that also. Recognizing that it is valid in relation to your preferences, and therefore your behaviors and your choices, but not necessarily beyond that – that every being does generate its own choices and for its own reasons.

TERRI: It didn't need my help?

ELIAS: And it does not necessarily need your help. And in that, it may be distressing to you, for it is very contrary to your guidelines, and that is very valid. And therefore, you may generate signals to yourself in being uncomfortable or sad or distressed, for it is contrary to your guidelines. And therefore, an action such as crying, in that regard, would not necessarily be a release of energy, although it was partially. But it may not be in some situations such as that, for it may be an acknowledgement of your own guidelines, that this is distressing for you for it is very contrary to what your guidelines express and you would not do this.

TERRI: Even after the Shift, we’re still going to have...

ELIAS: Guidelines! Yes.

TERRI: And we'll still be distressed and sad by things.


TERRI: Okay.

ELIAS: I would express, as I have many, many times previously, you are not generating utopia.

TERRI: Right.

ELIAS: You continue to be manifesting in this reality to experience it! And that includes experiences that you in this particular lifetime may not agree with.

TERRI: Right.

I wanted to ask about my brother. Did he create this whole prison situation as kind of being like Houdini to see if he could get out of it?

ELIAS: (Pause) I would express that there is an aspect of that, but it is more complex. There are many aspects of what he created and why.

TERRI: He wanted to know if it's still probable that he will create getting out of it?

ELIAS: (Pause) Yes. It is a potential.

TERRI: Is there one main belief that…? You know, because he keeps saying, “Well, but, but, but,” and I was explaining to him that thinking wasn't creating and if he wasn't creating what he thought he wanted then there’s a belief in there that he’s not aware of.

ELIAS: I would express that this is very much in relation to the subject of deserving.

TERRI: That he doesn't deserve to be on the outside?

ELIAS: Once again, it is not that black and white. It is not necessarily a matter of that he does not deserve to be OUT of confinement but more so a matter of deservingness in many directions: deserving to be content, and safe, and healthy, and comfortable and satisfied; deserving to be accepted as he is and who he is; deserving ease and not struggle. There are many aspects of this subject of deserving with him that are challenging, for what he has created and what he has experienced and what he knows objectively express the lack of deserving.

TERRI: Is there a direction that you can recommend for him to move in to work on this, or…?

ELIAS: (Pause) It would be similar to what I have expressed to you, although I would express that realistically it is likely more difficult for him in the environment that he occupies, but it genuinely IS a matter of genuinely and realistically looking at himself and becoming aware of what he is doing, how he is participating, what he is doing and what that means; how he interacts with other individuals; what his perception is of himself and other individuals; and genuinely moving in a direction of changing his perception of being confined, which is very difficult in the physical environment that he occupies, but that is a very important piece.

Remember: You are always, every moment, creating more, and what you create more of is determined by what you pay attention to.

TERRI: What could he move his attention to in the area that would aid him in perceiving that he‘s… (inaudible)

ELIAS: (Pause) How he could practice in an easier and perhaps even more fun manner may be similar to yourself in this also, allowing himself to view the situation as a game, and in that, in the environment that he is in, that every individual that he encounters is a key to liberation – therefore, how can he interact with each individual that he encounters that will generate an expression of release.

TERRI: Release from prison?

ELIAS: No! Release in any capacity, such as: If he encounters another individual and they are expressing in a negative attitude, how can he express in a manner that will encourage the release of that attitude? He is not changing the other individuals, but you are all influencing of each other always. And therefore, a very considerable factor in his situation is how he interacts with every other individual that he encounters, for that contributes to his perception of confinement.

Therefore, the key in all of this, in his game, is to be creating releases in every term, that every individual that he presents himself with is a gate – just as you present yourself with your roommate who is a landmine. Every individual in his environment is a gate, and each one of those gates is locked. And in that, in his game the objective is to unlock each one of those gates to create that release, the opening of the gate; and in whatever the scenario is, it is a matter of viewing the situation and the expression from the perspective of “What is being expressed and how can I create a release? How can I influence the situation to create a release?”

Will he understand this initially? Perhaps slightly. Eventually? Yes, he will.

TERRI: I sent him “The Nature of Personal Realty.” Will that…?

ELIAS: Excellent.

TERRI: Is that a good idea?


TERRI: Because to me he seems like what you told me so long ago that I was reading and reading and reading to acquire information for the point of acquiring it. He seems to be doing the same thing.

ELIAS: But eventually it will assimilate, and in that, it will eventually spark moving beyond merely accumulating information and it will move in the direction of, through that assimilation, applying it.

TERRI: Does he feel more accepted? Like more belonging?

ELIAS: That is a tricky question. I would express in one capacity but it is a false acceptance, and that once again moves in relation to that deservingness.

TERRI: Okay.

ELIAS: He does express a false sense of acceptance or belonging in that environment, but it is directly associated with his perception of his deservingness, which is not much.

TERRI: So he needs to work on that. Is there an exercise he can do to help build on that, kind of like the appreciation exercise?

ELIAS: I would express that this releasing will be moving in that direction also, automatically.

TERRI: Okay.

ELIAS: The expression of deservingness is difficult for most individuals, even in what you would term to be the best of situations. You are influenced and taught from such young ages to let go of that innate deservingness and to replace it with earning. You are inundated with this so much, even in, as I expressed, what you would term to be the best of situations or scenarios with individuals in which they ARE valued.

TERRI: Right, okay. Well, I'll have him work on this.

Okay. We did an example with what happens when I set an intent and with the cells changing and the landmines, so now looking at the campground, I had a great… Right around Christmas time, Christmas Eve I had an amazing conversation online about the campground in the Elias forum, and I thought that that was such a gift to myself, and I thought that your energy was there too.

ELIAS: Definitely.

TERRI: A Christmas present to me. (Chuckles) So, I kind of had the feeling that am I merging with the focus that's already there? Is that what goes on? Is there like a merging? Like there’s a me that's already running it successfully and there and it's daily life and…

ELIAS: (Pause) In a manner of speaking. Once again, moving to the game, (pause) in a game there are different levels. Correct?

TERRI: Right.

ELIAS: The levels exists whether you are engaging them or not yet, correct?

TERRI: Right.

ELIAS: In this, in a manner of speaking, in a different level you already are engaging, but the you, or the avatar that you are paying attention to, is this avatar and what it is doing. Therefore in a manner of speaking yes, you are correct, you are moving closer to that other level in which you will merge with that you and become that you.

TERRI: Okay. I picture myself running through the game and hopping up and going over bridges and things, and I know all of this is me [taking] a big leap forward. So, what's actually going on now? Am I drawing more…?

[The timer for the session rings]

Like, we talked before that the actual campground was reconfiguring itself and the investor was moving towards it from his direction too, so what's actually going on right now?

ELIAS: I would express that you are moving in the direction of moving closer to the investor through your creativity.

TERRI: Okay.

ELIAS: And therefore, that individual is moving closer to you or being drawn more in your direction.

TERRI: Okay.

ELIAS: Moving more towards your path.

TERRI: Right.

ELIAS: And in that, the campground continues to reconfigure itself to mold to both of you.

TERRI: Okay. So every time it blinks in and out, the atoms are changing and reconfiguring.

ELIAS: Yes. Yes.

TERRI: It may not all blink in and out together.


TERRI: But do it all differently.

ELIAS: Correct.

TERRI: And we do that too ourselves, all move in and out, differently?

ELIAS: Yes. Correct.

TERRI: So I’m still moving directly towards it.

ELIAS: Yes. Although you do incorporate moments of hesitation in which you are almost diverting yourself by stepping on a landmine but not quite, (humorously) and therefore continuing to not divert yourself. Each time you do not step on the landmine you avoid moving into the labyrinth.

TERRI: Okay. Do you have any suggestions for me right now?

ELIAS: How are you proceeding with your creativity?

TERRI: I did a really cool collage of all of the sculptures that I created last year, and I've been sharing that and increasing exposure. I did raise the price. I raised it to 99 and was hesitant but reminded myself that I deserve that because I am.

ELIAS: Excellent!

TERRI: And once I did it, it was easier to repeat it. I haven't attracted any orders, but I realize that I’m creating not attracting orders right now because I want to get caught up with the ones I already have.

ELIAS: Excellent.

TERRI: And I’m also going to be meeting with a friend of mine that owns a newspaper and may explore helping her with part-time sales and thought that might be a good way to get me out into the community, talking to different business owners, different artists.

ELIAS: Excellent. Congratulations!

TERRI: And I do a very intense tai chi workshop this weekend. (Chuckles)

ELIAS: Excellent.

TERRI: Which I believe having woke up in the middle of the night in between the two days throwing up, I took that as a release of energy for me in between the two days of intensity.

Would you still say the campground’s closer than I think it is?

ELIAS: Yes. I would. (Terri laughs) Yes, I would.

TERRI: All right. I think I’m doing much better at patience.

ELIAS: I would agree. I would definitely agree. Now if you apply it in your immediate situation, that would be excellent also.

TERRI: (Chuckles) Okay. (Elias laughs)

All right. Okay. Well, thank you very much.

ELIAS: You are very welcome, as always.

TERRI: And I look forward to talking to you next month.

ELIAS: And so shall I.

TERRI: Oh, one more quick thing. We did a joint treasure hunt downtown at the last gallery walk, and I don't believe I've seen this artist’s work yet.

ELIAS: I would agree.

TERRI: So I have artwork (laughs), but I haven't really seen one that really stood out and said, “This is him.”

ELIAS: I would be encouraging of you in maintaining your treasure hunt. (Laughs)

TERRI: That’s another fun game.


TERRI: Games within the games within the games.

ELIAS: Precisely! (Both laugh)

TERRI: All right. And with that I will end. Thank you. (Laughs)

ELIAS: I express tremendous encouragement to you – and congratulations in what you are accomplishing. It is significant.

TERRI: I feel it’s like totally different.

ELIAS: I would agree.

TERRI: Yeah.

ELIAS: Well done.

TERRI: Thank you.

ELIAS: Until our next meeting, in tremendous affection to you as always, au revoir.

TERRI: Au revoir.

(Elias leaves after 1 hour 3 minutes)

Copyright 2014 Mary Ennis, All Rights Reserved.