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May 2008
Editorial + by Éric Lemoine
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Email for inquiries and submissions wisp.ezine@gmail.com
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Cover artist Tracy Marshall Design Éric Lemoine Contributors to this issue
James (Rob) Artman (USA) Judyette Clarke (OR, USA) Jim Cox (USA) Jean-Baptiste Duret (France) Brigitte Geisler (Germany) James Hallock (USA) Jeremy Key (FL, USA) Melissa K. Lane (FL, USA) Kenneth MacSween (FL, USA) Tracy Marshall (Spain) Francie Moss (New Zealand) Emmy van Swaaij (Netherlands)
http://wisp.focusphere.net
We would love to hear from you Want to react on a published article, or submit your own?
famous quote attributed to Ralph Waldo Emerson says that “nothing great was ever achieved without enthusiasm”. Then, judging by the amount of enthusiasm that went into the making of this first issue of Wisp, we can say that all requirements are met hands down to fulfill that promise of greatness. Because, even more than just enthusiasm, what fuels Wisp, is foremost the sheer imagination, genuineness and talent of its contributors, coming from all parts of the glove (fingers of a hand, one might say). Collaborative work like this e-zine can be immensely rewarding, as much as it can be demanding. Nearly everyone of us, by the very nature of our society is more or less well versed in all sorts of projects of a collaborative nature. Yet, it does not mean that all of these feel fulfilling. On another hand, lots of people seem to have advice or counseling to provide to make projects work, and there are innumerable books written on the subject with all sorts of methods with all the more barbaric sounding acronyms to backup the theories. But mostly, what these methods are about is primarily control. Control of the deadlines, control of the budget, control of the task force etc. None of these methods will start by telling you to simply be playful and to cultivate that feeling of elation you had when you awoke from that dream where you had that brilliant idea, and it felt oh so vivid and near, and all you want to do is come back to that state of being. In many a way, this e-zine started just like this sort of dream. A dream of seeing all kinds of great contributions put together like little wisps of light, and each shining its own particular vibration to give a sense of a natural mosaic of beings, where each is doing her or his part, that very part one knows best how to play. One of the main tenets in Chinese taoism is that the perfect ruler will allow the natural flow of things, and exert the least amount of control as necessary, or in classical terms, be practising “not doing”. One of the stanzas of the Dao De Jing in fact goes so far as to say “The best of all rulers is but a shadowy presence...” As we are witnessing a shift in our society towards more feminine qualities, such a relinquishing of control over things seems not such an unreachable line. And it is not just about control in the rules of our societies, it applies to every possible layer of one's reality. In acts as simple as teaching a child, or taking a few minutes to smell the flowers. By allowing these wisps of light to shine through these pages, we hope the reader will also find that sense of fitting into a greater flow leading to exciting new realms.
Contact us at wisp_ezine@yahoogroups.com No part of this magazine may be reproduced in any form without written permission from the publisher. The views expressed by the contributors are their own and do not necessarily represent those of Wisp e-zine.
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Inside Editorial, by Éric Lemoine (p.3) I’ve Been Chosen for a Billy Johnson Head, by Tracy Marshall (p.5) Impressions, photography by Brigitte Geisler and Tracy Marshall (p.6-9) Cave Meditation, by Jim Cox (p.8) Dipping into the rich palette of the personality structure, by Emmy van Swaaij (p.10-11) Whisper Zone (p.11) A Personal Story I wanted to Share... About Love, by Melissa K. Lane (p.12) The Short Bus, poem by Judyette Clarke (p.13) Peanut Butter Odyssey, by James (Rob) Artman (p.13) Introduction to Glass Hours and the Logic of Time, by Captain Bridger (p.14-15) A Shamanic Experience, by James Hallock (p.16-18) The Eggleton Saga Begins, comics by Tracy Marshall & Francie Moss (p.19) Playing with Lenses... Observation as an Act of Creation, by Jean-Baptiste Duret (p.20-21) Essenscope, by Luce Mong (p.21) Wild Stone Heart, book review by Tracy Marshall (p.22-23) Paprika, movie review by Éric Lemoine (p.23) Objects in the Future Are Closer Than They Appear, art by Kenneth MacSween (p.24-25)
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Variations on a glass of milk by Éric Lemoine
I’ve Been Chosen for a Billy Johnson Head A riveting on-going story of serendipitous coincidences
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by Tracy Marshall
bout six months ago I introduced a new character into an online story1 I have been participating in:
“A parcel had arrived at the castle yesterday, delivered by a travelling artist, who had been invited to paint portraits of the Wrick family. There was no message with the parcel, and the artist, Bill Jobsworth, explained that an old woman in black had given it to him at the crossroads, asking him to deliver it to Cuthbert and India Louise Wrick.”
Shortly afterwards my attention was caught by the story of another travelling artist, also called Billy, in a newspaper article (where my fetish number 57 was featured)2
The mysterious donor of 57 carved stone heads found scattered around Yorkshire over the last two weeks is a reclusive artist currently on holiday “somewhere in a tent”, it emerged yesterday. The shadowy figure caught on CCTV at one of the 19 places where the primitive-looking sculptures have so far been found is Billy Johnson, a 43-year-old who describes his work as hypnogogic, or sleep-inducing. I wrote and asked Billy Johnson if I could order one of the stone heads, and received an automatic reply that he was inundated with orders because of all the recent publicity. I forgot all about it, until I received this email: Hi there I am writing this email on behalf of stone carver Billy Johnson who has picked out a selection of emails to respond to following the wave of publicity on his stone heads in October 2007. Yours was one of those emails. Billy writes… “Thank you for contacting the Paradox Carving website. If you would like to be involved in spreading the next wave of hypnagogic heads please can you send on your postal address. My intention will be to send you or give you two small heads (around 2 inches), one as a gift for you, the other to be left at a site of your choice for a stranger to find". Billy has picked out about 20 people from the huge range of enquiries who he would like to give a smallish carved stone to. [...] The first 10 heads have been sent out and we have some great stories and pictures of them in situ from all over the world from people who have taken part in the project. [...]
©paradox-carving.co.uk
We are interested to see how and where the stones go and have been amazed at how as an art form/concept/statement people have enjoyed this project and found a connection to the work. We will be compiling photos and stories about where the small fossil heads have ended up - this will be available on an online gallery later this year. [...] Thank you for your interest and support with this project. Best wishes Judi Alston Director One to One Productions3 Another project I have been involved in is the “Glass Hour adventures”4, which involves 'planting objects to be found by someone else' in the future; in this case, to be found by Jon and James in the year 2163. I decided it would be fun to combine the two projects. Now, the two small fossil heads have arrived at the first destination, Glass Hour member Judyette’s daughter in Birmingham, UK. The illustrated story of the travels of the Billy Johnson heads continues in our next edition of wisp...
References 1 http://stories.elikozoe.net 2 Daily Mail: http://dailymail.co.uk 3 website www.onetooneproductions.com www.dreaming-methods.com 4 http://infinityjunction.blogspot.com
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he youth walks up to the white horse, to put its halter on and the horse looks at him in silence. They are so silent, they are in another world. The White Horse by David Herbert Lawrence (1885-1930)
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Impressions
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Easter hunt, by Tracy Marshall
Goats rocks (Jimena) by Tracy Marshall
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Cave Meditation by Jim Cox
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Join hands here, in a circle.
What I heard was, Atlantis has risen.
Close your eyes and feel the pulsating sound ripples in your chest, vibrating in harmony. The hands of your friends, on either side of you, grip tightly, warm, electric current between your palms. The atmosphere is alive with anticipation.
After I heard, “Atlantis has Risen”, I saw bubbles come to the surface of the water, they covered the entire top of the water all over the Earth in all waterways. They were peacefully floating along, and there was something inside the bubbles, but all I could make out was a light shining inside these bubbles...
In the woods nearby is a cave with a large opening. It is warm and dry inside. The floor is sandy. The walls and ceiling studded with gemstones that emit a soft glow to light our way. As we enter the silence envelops us, and we are cut off from all outside sounds. There is a large room, high ceilinged, as if to provide a meeting space. Down one passageway, a flight of stairs carved into the stone leading down. Exhale deeply now. Slowly walk down the stairs, descending into Mother Earth Herself. There is a landing, with a round pool of water, fed by springs deep in the earth. Take a drink. The water sparkles and glows with magic, this is True “holy water”. Give thanks to Mother and continue. Exhale again, relax deeply, and descend to the next level below. A faint sound, from many levels below us, slow, pulsating, thrumming. Descend again, the path grows brighter, the sounds louder.
It is the moment before the birth of Creation when All is yet unmanifest, without Form, yet All is fully present and alive within you. You are that pure creative Impulse itself. You are the sound, the vibration you feel, the electricity. Rest here in this energy for a few moments. Let your Awareness expand, filling the room, until you are present in every part of it. Your heart and gut tremble with anticipation. ALL is possible here, you are at the Source, and you ARE that Source! Welcome Home, Gods, Goddesses, co-Creators. Relax into your own Divinity, your own Power.
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Meditations
We find ourselves in a giant room, crystalline ceiling, torches flickering on the walls, but the light is far brighter than the torches alone provide.
esterday, early evening, my daughters and myself did a burning ceremony... Very soon after, I started having visions and lots of information came through. One of the topics that came to sight was Atlantis... What I “saw” was, initially, a round disc of sorts with symbols on the outer edge. On top of this disc was a obelisk of clear quartz crystal, with a pointy top. I was in Mermaid form and there were dolphins surrounding this disc. The dolphins proceeded to lift this disc to the surface of the water, as we were all in the depths, as far as you could go down in the sea, but it also seems like we were even further than the depths, if that makes sense. I swam into the middle of all the dolphins and put my hands in the middle of the disc and we all swam together, bringing this disc to the complete surface of the water. Once we surfaced, four lines of energy came out of the disk, and started to reach and activate all the pyramids, obelisks, etc., on the physical plane. Soon after this, there appeared to be round lights surrounding the disc, the size of a dinner plate, all being different colors. The dolphins held the lights with their noses, and more mermaids came and put their hands on the lights. Next, the clear quartz crystal in the middle turned into a 6 pointed star, and took on a purple color tone, and there were six mermaids attached to this star, that started to spin pretty fast. There were two whales under the disc now, and a dragon on top of the six pointed star, holding on with his claws.
It is nightfall, and we are gathered around a campfire.
Melissa K. Lane
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Ganesha by Brigitte Geisler
anesha is the Hindu God of Beginnings and Remover of Obstacles... As such, he is usually invoked before all major tasks. The elephant-headed deity is also depicted riding a rat. Unexpected mount for an elephant, the rat is the symbol of the gnawing ego and thoughts. Not destroyed nor crushed by the divine will, but rather used as a vehicle, and gently steered by wisdom (huge head). In Kundalini Yoga, Ganesha is associated to the first (root) chakra. Om Sri Ganeshaya Namaha Wisp e-zine
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Dipping into the rich palette of the personality structure by Emmy van Swaaij
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hen doing any form of theatre an actor uses different combinations of his usual psychological setup. He reforms his personality into the desired setup, the desired characteristics that the role asks from him. Using and combining the many layered experiences he lived through or learned about in his life he forms this setup. Often this reforming of the psychological structure happens quite naturally by following one of the lead characteristics of the role he is going to play. There is often not so much conscious effort playing the role, at least I experience this when I’m playing a role on stage, as long as I can find one particular characteristic to build my character on. The actor knows that after the play he can find the setup he defines as himself. Close friends and relatives expect him to leave the other role behind and return to his trusted self. On stage he allowed other parts of his being to shine through that are always there but reside in the background. This asks for a kind of concentration, a kind of focus suitable for that situation. I think that when someone channels1 the exact same thing happens. While channelling you allow your regular setup to change position. I find it very important to share my point of view on this, also to get a better picture myself of my ideas on this subject. Often I’m annoyed by the assumption of many people who visit someone who channels that the person who is doing the channelling disappears. Steps aside out of his/her body to let someone else take over the wheels. I think that while channelling you allow different parts of yourself to rearrange into a different perspective. A highly creative act and an act we all constantly perform, maybe not as clearly recognisable. When a mother is at home she may use a different setup when talking to her child from the one she uses when she has a discussion at work with her co-workers during a business meeting. She is however still the same person. Sometimes characteristics overlap from one role to the other, but overall the setup can vary from slightly different to very different for the most used setup, from commonly used to seldom used. The regular psychology is working on making maps of the personality structure but having difficulties to do so. The personality structure is so big and multilayered that it is hard to see the borders of the personality structure. I think you can compare it with a palette that a
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painter uses. Let’s say you have Rembrandt creating a big painting using a particular mixture that makes a red colour. After some time of painting he needs to create some more of this paint, not having enough of it on his palette. The colour he will re-create will be almost the same but when put under a microscope maybe one can see that it is slightly different. But people won’t see this difference with the naked eye so it doesn’t really matter if it is slightly different. The same counts I think for our personality structures. We are constantly changing but because it is most of the time very close to our former self we hardly notice it, neither do others. While writing this piece I realise that Defrene2 would phrase these sentences in a similar way. Am I now speaking for Defrene? Or am I just speaking from my perspective? Where does Defrene begin and where does Emmy end? Is there really a clear border? These questions often are present in my mind. I could say that I think that my personal palette is
We are constantly changing but because it is most of the time very close to our former self we hardly notice it, neither do others. now mixing a colour, using the paints that are similar to the metaphorical colour that my concentration takes when channelling for Defrene. However it is slightly different, since I’m now not in a trance state. This combination of my personality structure is made with the same palette. When my personality gets the mix it needs to be speaking for Defrene, to be able to tap into this kind of information I can reach different parts of my being that go beyond who I generally am. The thing is these palettes are so big, that I as Emmy can’t perceive the boundaries, see only a slight portion of it. When travelling through my personality structure I might sometimes because I’m having a specific kind of concentration, find colours I can normally not reach with my regular concentration. However they are always present, always there, I simply cannot perceive them always. Neither can I perceive them as soon as I walk away from that part of this huge palette.
EMMY VAN SWAAIJ was born in Utrecht in the Netherlands. She graduated Cum Laude as a Drama Therapist in the summer of 2006, and specialized in working with deaf people, thus combining her sign language skills with her drama therapy work. In 1999 she came in contact with the work of Jane Roberts and began to regularly record her dreams. Not unlike the way in which an archeologist studies the different layers of the earth, Emmy studies the different layers of the dream state, meanwhile discovering more and more about her own self and her reality. This opened a pathway for even more explorations in consciousness that she keeps developing over time. She is presently exploring her reality in Arnhem, the Netherlands. Emmy can be reached at emmyvanswaaij@gmail.com
1 As defined by Meriam-Webster dictionary, a channel or channeler is a person who conveys thoughts or energy from a source believed to be outside the person’s body or conscious mind; specifically: one who speaks for nonphysical beings or spirits 2 Defrene is an energy personality voiced by Emmy.
Photo by Brigitte Geisler
Dipping into the rich palette of the personality structure, continued from page 10
There are so many different combinations possible that I’m more then happy to see what kind of combinations suit me and make me feel comfortable. When I have a better idea of who I am, I’m better able to re-find myself (even though I might always be slightly different) and feel comfortable and safe. I choose to not be constantly speaking for Defrene because I want to see more of the palettes that make up my being. However I’m fond of the insights this particular colour gives me and I’m willing to make more paintings with it. The paint is never alien to my being. It comes from the big metaphorical “paint shop” where my Essence is connected to. Often it is said by people: human beings are more then the sum of all their parts. I think this is because there are so many combinations possible of all of your parts that they will create many other probable selves. When speaking for Defrene I take into account that I’m a multidimensional being. That is what I believe. That I have many focuses at the same time, just now I am momentarily zoomed into my Emmy existence. But at the same time there is my essence where all of these different focuses are a part of, and the source of that essence. Where do the colours on the personality palette have their origin? How are they created? I have no clue...
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o Opan the see lock a Glass Hour is key. As “tick” is to “tock”, so is 2008 to 2163... Oba the corridoor bridge into futures’ frozen frame, past chills of time’s fridge, where the present’s all the same. At the root of time’s function, Between the moments, insight becomes clear. Tesseracts grow at infinity’s junction, where nowhere is, now here... Time Bridgers Nursery Rhyme
When Mlle Mongoose was asked to share her beauty secret, she enigmatically replied “groseille” in a Marseilles accent... Ann O'nymong Looking for a crooked sapling. Any essence of wood accepted. Please contact as now as possible. Passion is like a bar of soap The more at it you nibble, The more you get bubbles...
A dejected stake
The Snoot
But they are there and they are there to be explored in whatever fashion we want. Not necessarily through channelling or acting or painting pictures. Life will offer us the opportunities. We can choose whatever way we want to explore self, one method is not better or more informed then any other. We all channel, in other words change the colours on our palette constantly in one way or the other, in a similar way as we all act constantly throughout our lives. However just like not all of us want to act for our profession even though we act a different role from time to time, the same counts for professionally channelling. We simply don’t all want to have it on our business card or maybe are more suited for other ways of using our palettes. Everyone has all the colours constantly inventing new combinations creating their own individual lives... Want to have your message shown in the next issue of Wisp? Write to wisp.ezine@gmail.com
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A Personal Story I Would Like To Share About About… LOVE
by Melissa K. Lane
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have always had an inner sense of knowing that I planned my story as Melissa before I incarnated into this timeframe. Even though some of the experiences I chose were less than comfortable while participating in their experiential aspects, they have all been, and will continue to be, part of my plan’s enfoldment, thus the enactment thereof. I would like to share a segment of my story, as I am now able to adequately put it into words
I chose to marry at a relatively young age, according to society’s standards, and thus followed the birth of my first born daughter, Natalia Melissa. I felt as though I had given birth to my best friend, my confidant, and upon looking into her eyes, a very old and wise soul. At times I also felt she was the mother, for now I know that the roles of our shared energetic experiences had been back and forth through the eons. When Natalia was just shy of her second birthday it came into my awareness that I was again pregnant. My husband’s reaction was, hmmmm, let’s just say less than desirable, but, part of the plan, none the less. His words were, “terminate the pregnancy”, or he was going to terminate his commitment to the marriage. My heart guided me to proceed with the pregnancy, and very shortly afterwards my husband went to work one day and never came home. So, here I stood, chronologically seventeen years old, the mother of a two year old asthmatic child, pregnant, no job, no car, down to a few dollars in my pocket, and my husband had just left. I went to my motherin-law’s house, following my inner promptings, and explained to her and her husband what had taken place, and they immediately insisted that I share space with them, until I could afford my own place. They lived in Little Havana, Miami, in a rented, one bedroom, one bathroom home. The entire home was tiled, and only had air conditioning in the bedroom. They went out and bought me a cot, so that my daughter and I could sleep in their bedroom, so that we may have air conditioning. They did not have much in material gain, but they shared what they did have with my daughter and me.
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For the next 2 months, they fed us, clothed us, and assisted me in obtaining employment (two jobs). I worked, found day-care for my daughter at the local church, and my mother-in-law picked up my daughter after her day job, so I could work my night job a few days a week. I saved money, and within the two months had enough for a studio apartment that was not too far from my in-law’s home. I dropped my daughter off at the church day care, and from there, took two buses to get to my job in downtown Miami. My night job was just across the street from downtown, in Bayside. I thought a few times to contact my father and let him know what had occurred, but, I felt, he had his hands full with the impending transition of my step-mother, who had cancer in its final stages. He was in the process of making final arrangements, for the second time in his life. The first time being the transition of my mother, his first wife, when I was four months old. One weekend I was on my in-law’s porch, reading the Sunday paper, and I received an inner prompting to look at the classified section. Upon doing so, there was a section that said, “Adoption Attorney’s”. There were only three listed, and there was one that resonated with me immediately. I took down the number, and then next day I contacted the attorney. We talked for a bit, and I agreed to meet with her later that week. Upon entering her office, and being greeted by her secretary, I felt at ease, filled with peace for the first time in quite a while. I knew I was in the right place. The Attorney and I sat and talked for what seemed to be hours. She drove me home later that evening. I weighed everything out in my heart, and came to the decision to meet with the Attorney, and go forward with adoption proceedings. I told her that I was to meet with each and every prospective couple, and I would decide where my child was to be raised, and by whom. The next few months were spent working, taking care of Natalie, almost three years old, and coming to terms with the decision I had made. Then the day came where I was in a store, bending down for something, and lo and behold my water broke. I drove to the hospital, and called my friend and the attorney. My friend stayed with me from start to finish. The nurses at the hospital did not make it a comfortable experience, as they had their own opinions about adoption. I held my child, a
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little girl. The attorney took some pictures for me to keep, and gave me a copy of her foot prints. I left the hospital shortly thereafter, and signed myself out, against medical advice. All I wanted to do was get home to be with Natalie. Shortly after the birth I moved out of Miami, and back to where I had grown up. I kept in touch with the Attorney over the years. I told Natalie, very soon after the adoption, that she had a sister; she seemed to understand, even at three and four years old. Every so often I would remind her, as the years went by. When Natalie became a teenager she told me one day, in the car, that when she turned eighteen she was going to find her sister. So, one day I was on my way to work, September 2006 to be exact, and Natalie called me and said, “Mommy, I found my sister” (Lily). I was speechless, and told her that I would call her back, when I was able to form words… They began an online/phone relationship, and to sum up the conclusion of this part of my “story”, as Melissa, I came home one day and walked to the back room of the house, where we all congregate, there sitting, were both my daughters, Natalia and Lily… together… tears flowed, laughter ensued and the three of us seemed to merge into each other… Even though I knew that my decision, sixteen years prior, was in divine order, it was far from an easy choice for my heart to bear. Simple } I Loved Lily Home… Together…
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In Continuation Over the past year or so, the three of us, myself, Natalia and Lily, have been forming an ongoing relationship… It has come to pass that Lily's adoptive parents cannot handle our involvement in her life, nor handle what they deem to be unacceptable behavior from Lily… So, as of tomorrow, Lily will be living with us! I Wanted to Share The Joy
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the short bus lessed are those who ride the short bus who doodle rocket ships in the margins of their papers and refuse to do math whose nuts and screws came loose long time ago and scattered among the edges of the machine for if it weren't for us there'd be no one to pee upon the walls of convention to stand outside and refuse to go in for if everyone was in there, who'd let them all out when they drove themselves crazy? Judyette Clarke
Peanut Butter Odyssey by James (Rob) Artman
I was curious to find any information regarding any details about the monolith as portrayed in the 2001 Space Odyssey. I was fascinated by the movie and the details of the story-line. I thought of searching the Internet for any relevant data. What I found was quite interesting. Some of the source material could be viewed as being related to the shift! There were many themes which presented themselves early on in the search operation. However, two main themes seemed to weigh in more so then the others. Being Gramada-Sumafi, I was drawn to the first which viewed the monolith from a type of technological point of view. A group of physicists believe the monolith to be an inter-galactic wireless router! Now I'm no physicist, but I have some difficulty with this perspective. This is because I've watched this movie many, many times and stepped through the beginning when the monolith was first noticed by the prehistoric population. NO ONE TOUCHING THE MONOLITH WAS WEARING A GROUNDING STRAP! A static charge built up on anyone wearing leather and having a plastic comb in their pocket, could have delayed evolution and the release date of the movie! The second theme was the belief that the monolith was actually a pre-spotted Dominanderthal. However, I'm ruling this out because there wasn't more than one. Which many are required for a decent domino effect! None of the other theories seemed at all likely, however, one suggested that the make up of the monolith was actually dark chocolate. Researching from this angle turned up some really interesting stuff. In southern Turkey or the south end of a Turkey, not sure because the researchers English was breaking up a bit, a cave was discovered. It contained dead sea skulls, or dead seagull scrolls, and cave paintings. I have attached a hand drawn image of what was found. (left picture) It appears from the drawing that it is quite possible that the artist drew an object in the pot that may be referring to the monolith. Other pictures depicted could be attempting to convey the possibility of prehistoric Easter Bunnysaurus. Another researcher tried to suggest a chocolate peanut butter bunnysaurus, but I think he's attempting to read more into it personally!
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Introduction to Glass Hours and the Logic of Time by Captain Bridger
E
ver heard the faint sound of a distant tune? The echo of a faded voice as if from nowhere? Ever had a ghostly scent whisp passed your nostrils only to vanish without a trace? Ever see glimpses in your direct field of vision or in the scope of your periphery, of outlines of figures? I know too many people have experience what has been termed as Déjà Vu! Well, chances are you may have experienced a "Glass Hour". Glass Hours describe those aforementioned examples, but are not limited to those particular examples. Those specific examples may not always constitute a Glass Hour scenario and may be connected to products of a widening awareness, but they can most definitely be used to identify the occurrence of a Glass Hour.
Not only are planets drawn to their orbits, or galactic debris attracted together with other debris to form what has and will become planets, but we are also drawn to experiences via an attraction or gravity.
What is a Glass Hour? Generally, “Glass Hour” is a term used in reference to intersections of time or instances where times overlap/connect. A “Glass Hour” is a way of expressing an experience where one can “see through time” (during such intersections and overlaps). Time is wrinkling and overlapping and intersecting all the time. Time is a core element in the design of this dimensional experience and is more flexible than we think. The element of time itself is a system of organized experience. Time, combined with the force of gravity, creates space, thus furthering the space time continuum. Time isn't absolutely a sequence of events generated by subsequent cause and effect. Time flows that way within our perceptions as this is the design of this particular dimensional reality, but is not an absolute. Time, naturally, is not limited by the confines of the box that we place it in —in other words, Time is not limited by the clock as the clock is a man-made invention that is associated with our perceptions of time (within a limited sense of its measurement alone). Time can flow forwards, backwards, inward and outward as it organizes experiences in conjunction with the force of gravity. Gravity, by nature, isn't limited to influencing physical objects. Gravity is used in this context within a more broad sense of the word. It is used to describe guidelines or rules of attraction as also occurs in the blueprints of this dimension.
It's this wider context of gravity that explains what has been previously rationalized as “coincidence”. Recognizing this force of gravity that attracts us to certain foods, certain interactions, specific relationships, various opportunities, etc., we may open ourselves up to noticing less of a random universe and restricted functioning of time as we experience it. In this, you would be surprised how much your life may change! We each project an innergy1 from us constantly... consistently. In this innergy, is a force of attraction that attracts like innergies to us within a spacious present. If left uninhibited, you'd be amazed at what you may attract to yourself —from what we perceive as past, present, or future!
“Recognizing this force of gravity that attracts us to certain relationships, opportunities... we may open ourselves up to noticing less of a random universe and functioning of time as we experience it.” 1 Innergy is a portmanteau word, contraction of “inner energy”
continued on next page... »
The Snoot, rendition by Éric Lemoine A pressing que ion on a pointlessly embarrassing subje ? A psychotic dream with eluding meaning that you can’t decipher? When all hope seems lo , ju dare to... ask the Snoot... ✎ askthesnoot@araili.net
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Coming soon on the next issue of Wisp
Introduction to Glass Hours and the Logic of Time, continued from page 14 This design of attraction, this gravity, is also responsible as a method we use to draw many things to ourselves, as stated, from a variety of directions including, but not limited to, even future events (within probabilities). Accidents that one may perceive as such within the moment may regret the events leading up to the perceived accident, but realize later, that the accident served some purpose, so to speak. It was the accident that magnated to you, but what's more, it was the purpose that you may not have paid attention to that had also gravitated to you. Some would say that there is no rational way that you could have foreseen such a benefit to an accident, which was more futurely.
Until we continue in the next publication, start looking for those Glass Hours where time overlaps and practice thinking more with a widened logic of attraction instead of a linear, calendar-based logic alone. In fact, as a closing assignment, take a pencil, hold your fingers at its center as to balance it, then make it wobble. You may have already had this experience where you do this, and you see a trail of pencils as it moves. This would be a simple and well-known exercise of
different moments of time existing at the same time, but holding different degrees of solidity within its organization. Each of those pencils in the trail of the motion of the pencil is actually the pencil within each moment-point or frame of time that contributes to the action you engage with the pencil. This is also one demonstration of a Glass Hour, where you see through time —where you see the pencil existing in various places within time simultaneously! Have fun!
There are different types of logic and reasoning, but that's a discussion for another time. For the moment, that typical, surface, intellectual logic of rationale may not necessarily apply when viewed with an awareness of time and gravity/attraction. Some may, in the moments of the accident, perceive the innergy they projected to be a negative one or one that was undesired or even unfavorable, but in actuality, the imagery and events drawn to ourselves through this natural magnetism can be quite abstract and may show one thing surfacely, but reveal another underlyingly. In this example of the accident, it may have been the payoff that followed the accident that was actually, more directly, what was being attracted, which was then actually of benefit. Within the present moment of the accident and within the perception of that accident being “negative” in nature, may change or shift as time passes to reveal the source of the accident being the benefit that was actually what was being attracted to oneself. In this, time has organized the innergy being projected, connecting the innergies being attracted by the magnet of your own inate innergy. Within a present moment, you had drawn yourself to a future outcome or result that was beneficial to you just as you had also drawn to yourself the manner in which you reached that, then-future moment, making it your present, explaining what has since become the past. Time has a type of logic of its own. Time has a consciousness, though it is very different from the type of consciousness that we express within our awarenesses and the actions that we ourselves generate. The source of Time's logic is the very attraction just spoken of. Even though time exists within one spacious present that encompasses what we view as past, present, and future, time also generates through our perception, veils that offer boundaries to these collective experiences, in order to efficiently allow the respective moment points to operate as we designate them to. We create time and participate with the use of this element for the reason of slowing down actions so that we may appreciate our own movement and experience it within a more singular nature. These veils used to separate time frames or entire time frameworks are not placed to hide anything from anyone nor as a limitation, per se, but moreso, as a tool for catagorizing or cataloguing experience for the purity of those different experiences. Each time framework offers its own flavor. Time, within our designed perception, progresses so that we may taste a diverse variety of experiences and make unique, creative, connections using the tools and guidelines in this game of this dimension.
E
ggric Froggleton, the eggitor of a large successful magazine called Crisp, has disappeared. He was last seen with Sue Flay, a wickedly charming bad egg from Paris. A team of Eggletons set out to look for Eggric, but they too disappeared. Was a murder most foul commited? Eggatha and Egglock attempt to unscramble the clues. “We must find the missing Eggletons, they may be in hot water” said Eggatha Crispy. “Alimentary, my dear Eggatha” replied Egglock Homes. “By Jove, Eggetha! We're cooking now!” exclaimed Egglock, when the Eggletons were spotted leaving the building. “By George I think we've cracked it”, said Eggatha, perhaps a trifle prematurely...
The Eggleton Saga Begins page 19... Pictures and scenario by Tracy Marshall and Francie Moss
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A Shamanic Experience by James Hallock
A
few days ago I had the pleasure of experiencing a genuine Shipibo Indian Shamanic ceremony. I will try to convey what occurred but there are so many layers to it that it may at times seem confusing, although during the experience it was anything but. Let me set the scene. There were fifteen of us in total. Two shamans, a husband and wife team, two or three helpers, and the rest seekers. We were all around a small room on mats. It began in the early evening and continued for about six hours in actual ceremony, but the effects still continue now a day later. The room was dark with just some light coming in around the blinds, and occasionally from candles or other smoke generators, pipes and cigarettes. The shamans sat at the front and the helpers would float around the room assisting and bringing those in need to the front for assistance. I went to this ceremony with two basic intents. Firstly to shed a lot of crap that I no longer needed and secondly to get assistance in opening the doors of my inner experiences wider. The Shipibo use Ayahuasca as their medicine of choice and have a very developed sense of respect for the power of the plant and the medicine, believing it to be a portion of consciousness and having awareness of its own. The first thing was a short talk of what would be done and what we could expect. Then the “medicine” was passed around to each person. For this evening I was “James” rather than “Jim” as there were three Jims and I was the last to join. At least I think that was what occurred but on a deeper level it could be something entirely different as “James” is my “official” name, for business and so forth, while Jim is the me of now. We sat and addressed the medicine with the intent we had and respect for it as a helper. Then we ingested it. It was very quiet for about 45 minutes as everyone let it work. Then the singing started! There was an immediate change! The song resonated throughout my body. It was electric! The woman started and the man chimed in harmony. The show was on. Throughout the evening I would sit, lay down, or assume other postures as I felt the need to. I learned later that this was not the normal way and some shamans insist that you sit through the whole thing. This felt contrary to the inner guidance I received as the night progressed so I guess I picked the right ones for me to experience with. Imagine that?
The range of the woman singing went from soprano to almost bass with changes in texture and force throughout. She was amazing. The man’s singing was more of a singsong but also powerful in its own way. As the night progressed the energy grew into something almost solid. It was also very cohesive. Generally, in any group there is at least one spirit that is a little grating or divisive. There was none of that this night. Next were the drums. After a few songs two of the helpers came out in the middle with hand drums and started drumming. Until you experience this it is not describable in words. They each were similar but just a little bit different in tone and very deep and resonant. It was only the beginning. There were more songs and then the assistant came out with what I later found out was a wind wand. This simulates the bullroarer of the Aborigines and also has some of the Didgeridoo. More singing and then the rattles! This was so powerful and consuming. It was a combination of singing and the rattles but the words are so puny next to the experience. I was gaining a very profound respect for the tools of what we consider the “primitive”. More songs and then drumming again. The evening went on like this and throughout the helpers were visiting each person, taking those in need to the front, using whatever musical instrument was appropriate for the time, sending smoke or rattles to the appropriate thing, and generally just helping the flow. As it started to wind down and quiet the flute came out and it was so right for the moment. Quiet and peaceful, bringing everyone down to a comfortable level.
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The ceremony was called finished for the time but there would be a completion ceremony in the morning, this was about two thirty in the morning. There was a general release and chatting for about an hour and then we all settled in for sleep. I know, that's the overall story but what are the details? You have to have the setting to understand the rest. I will relate the different things I experienced but not necessarily in order. There were so many layers to the evening I will try to convey what “I” saw and experienced. Remember that a lot of this is going on at the same time but I tried to put some of it in sequence to make more sense to someone not there in the moment. I received my dose of medicine and contemplated my intent for the evening and then ingested it. It was a long time sitting quietly in the dark and I really didn't feel much at all. Suddenly this voice started out of the darkness and it was a shock! Everything changed. Then another joined and the experience really began. Throughout I was questioning what was happening and comparing to my “normal” meditation experiences. It would be best described as slightly “elevated” from what normally happens. I went on in this manner and about an hour and a half into it one of the assistants came by to see how I was doing. I had earlier told him the effect I had and that it now seemed to have faded and I was on my normal abilities, but still seeing much of what was going on in spirit; colors and energy flowing as cleansings and healings were done, and that sort of thing. He explained that first time users have a tendency to mild experiences and inquired if I wanted a little more. He cautioned it could be overwhelming and tried to get a sense of my ability to remain in touch and not lose focus. I agreed to try a little more and he continued around the room, checking others, and seeing how many would need more. He made an announcement that he would prepare more for those who requested it and that we should proceed, one at a time, into the other room for our medicine. After he left I suddenly had to vomit. One second fully in control, the next spewing into my container. The effect was so immediate! I had to think again whether I wanted to try more but
decided to continue. I guess this is the place to explain the properties of Ayahuasca. It is mind altering and also a purgative. Vomiting is a part of the experience and everyone had containers for this purpose. I had done well (I thought) and held it for quite some time. They had instructed us to try and keep it for at least half an hour. It was my turn and I quietly went for my dose. I came back and went through the same procedure as earlier and this dose accelerated immediately. I had much more awareness of me and what was happening around me. It wore down rather quickly but I became aware that I had gained some of that opening I was seeking. One of the assistants had his seat next to mine and I followed him as he made his rounds and did the different instruments. He was the one with the wind wand, rattles, flute, and also one of the two drummers. I watched as he was talking to someone else and he came back for his eagle feathers and went back to do a cleansing. I watched as he flicked things away with the feathers, and noticed he didn't pay attention totally. Some of what he had pulled off the individual he had flicked, and it was now stuck to his left foot. Was he aware of this? Guess not as he finished and came back to put away the feathers looking like someone with TP1 stuck on his foot.
got up from assisting someone that he seemed to have problems with his lower back. I had conflicting impulses at this time. How do you offer healing to someone in the middle of a ceremony that includes healing by others? I asked about it and he explained he had hurt it and had chiropractic treatment but still had some pain. I nodded and continued to watch. As he went away Webster came into view and I understood the connection now. He was focused on Webster for whatever inner purpose he had, and Webster had back problems. He was bleeding through and this was the cause of the current problems. When he was next sitting I told him this, and he was pleased and said he would pursue it and see what was going on. I learned in the morning that he was a published author and had several friends who were among my favourites starting with Ray Bradbury. I thought how neat to encounter someone with ties to my favourite form of reading, and some of my friends of like mind would be tickled. The next topic is the songs of the woman and how they affected me. I already mentioned that she was powerful and her initial song kicked off the actual start of what was happening. She had many tones of delivery; from soft and feathery to loud and demanding, from soprano almost to bass, in texture from smooth and comforting to coarse and grating, all necessary for different purposes in different songs.
It now seemed to have faded and I was on my normal abilities, but still seeing much of what was going on in spirit, colors and energy flowing... What should I do? Tell him? See if he saw it? Do I intrude on the creation of someone else? I told him. He first thanked me and then took the feathers and removed the stuff from his foot. I had an interesting interaction with him throughout the whole thing and into the next day. I had trouble keeping his name and felt he was Webster. Then I saw this picture of a man from the civil war period, in that genre of picture. He was rather stout, had bushy sideburns, long kind of curly flyaway hair, and a kind of gruff expression. I knew this was Webster. After awhile I told him this when he was resting next to me. He was intrigued and again thanked me. I continued to watch him and noticed as he
As she started the first of her power songs, it was just below soprano and very loud and forceful, I immediately had to come back to a sitting position from reclining. This went right to the core of my chest and resonated throughout my body from there. Each time she sang in this tone and manner I had to again sit up and participate in that manner. Then there was one even more special. As she went into this one I had to again change position. Back against the wall, feet pulled up tight against my butt, knees up, and my arms resting on my knees going straight out. She was pulling on my healing energies! Initially my palms were down and I slowly turned them to face each other. As I did I could feel the energy coming up to meet between my hands. When I do healings I normally rub my hands together, feel the energy between them and
1 Toilet paper
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A Shamanic Experience, continued from page 17
let it grow to a point where I can feel it between my hands and compress it, until I have a ball the size of a softball or larger. During this time it can feel like a sponge, growing denser and harder as the energy builds. When it is a foot or so between my hands is when I generally start. At this time I can feel solidity to it but it is still compressible. Not so with this energy she was calling. It was wider than the space between my hands and I had to open my legs to allow it to grow. And it was also very solid. As I tried to compress it, it only moved about an inch and was rock hard! As it settled it started to rise into an arch and then extended out to encompass the two of them. I watched, totally in awe and completely happy that I was helping! I saw the person she was working with in a brilliantly white shirt, it glowed in the dark, and very short cut black hair. I learned later when I saw him in the light and talked that he had long dark brown hair, and the shirt was off white with a very distinctive design on the side that faced me as he was being healed. The connection also came into play later in the evening. This individual also has some Shamanic training and asked if he could sing. They allowed it and I got some very distinct visions as he did. At first I saw a very dark, mountainous scene, with this blazing white spirit light, almost like lightning but not flashing or jagged, just continuous and smooth. Next came a clipper ship in a storm surging through a wave. Then there was something else but I don't remember it now and didn't when I discussed it with him after. The song continued to its end but I had no further pictures. Then there was what I saw watching the shamans themselves. As each of them, one of the helpers or anyone else, got into healing mode they glowed with a fluorescent green/yellow color very similar to what you see on vests or equipment used to make road workers, firemen, and others stand out. This same color is very prominent in the Shipibo craftwork.
The next morning after everyone was awake we gathered around in a circle. The leader showed a drumstick and explained that this was the talking stick. Whoever had it had the floor to talk as long as they wanted. When they were finished it was passed to whoever was ready next and it flowed around, across, or wherever, as each one talked. We told of what we had experienced during the ceremony, not necessarily in detail as some were not for everyone to know, but in general what we did, what our intention was, whether it was accomplished, and whether it had helped or not. At the end the leader talked last and the ceremony was declared at an end. We all broke up and breakfast was made, we congregated, made friends, compared notes, and just generally chilled. It was good. I have new friends, new things to follow up on, a new awareness of things I had previously discounted, and a general feeling of satisfaction. As with all things this drew to a close and I had to get on the road home. It was an amazing trip. The roads were clear, I almost flew, made the return in almost half the time as the journey down, and I rode with my tunes cranked, singing loud, a new appreciation of sound and its effects, my voice raw by the time I was home. It continues today even as I write this. I am in a heightened state, the energies flowing, my ears ringing and clicking, my hands bright with the red energy I get from doing this, (from the experience of channelling my dragon focus, I guess I'll have to bite the bullet and let him talk; it will take practice) and just a general clarity of mind that is nice. I had to leave in the middle of this and run across town on an errand, again with my tunes cranked, singing like crazy, and chills of verification as I had different thoughts about what had, is, and will continue to come from this experience. To any who read this if you get a chance to experience this... DO IT!
At times as the man was working he would be brushing and fluffing the person to remove unwanted things from the body. As he did this I could see it show up on his back, in different colors depending on what he was pulling and removing, and then it would vanish. A very cool insight into how the healing was being accomplished. As the evening progressed I saw my fat man dwindle to a stick figure but I still didn't have any opening from the shamans, or so I thought. I watched as others were called, getting smiles from the man at different times as if to say I know what you want. But I never did get called. I thought I would, but as I watched I realized (the great AHA moment) that I came here to do this and “I� had to do it for myself. I had chosen this time, place, and the people to experience it with, and with the assistance of the energy, atmosphere, and general feeling of comfort I was doing it. I looked over at the shaman and saw this big smile looking at me and just grinned. So I did accomplish what I wanted by coming here and also gained further insights into who and what I am. Eggletons meet Pebbletons, Tracy Marshall
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Ode to Vegemite, The Froggletons Inc.
Playing with Lenses...
I
must say that I have always thought observation was an act of being in retreat, that it was a matter of looking and not participating. I did explore this aspect of observation when I was younger and I always imagined myself as an éminence grise (grey eminence) or some kind of shadow man, associating observation with the fact of being unnoticed myself. Recently I’ve realized that observing was also an act of experiencing, of being part of. In a way, my reflection upon this action was triggered by my desire to do some artwork. I was first attracted by drawing and painting. I had all the tools necessary indeed, good software, a good tablet… and I began to draw some sketches and to color them. As I was not really satisfied with the results, I discussed it with a friend whose artwork was part of that trigger and he told me that I was trying to draw what I was thinking things were and not what I was seeing. Surely that made me think more about it and my exploration of the observation process began. One can easily be overwhelmed by all that is around and inside to be observed, and observing is not only receiving information through senses, but it is also organizing it in pieces that make sense, creating relationships, creating memories, creating stories… It is a good exercise to realize that everything is connected and that there are no real boundaries between objects, and even that our definitions of objects and the associations we have around them are strongly influencing how we observe, what information we keep and what we discard whole heartedly. Sight is the sense that is the most strongly associated with observation, it is the sense that most of us focus upon most of the time, though it is not the only sense that we have at our disposal. Even during meditation we rely on images. When I was a kid, maybe 8 years old, I once went into the bedroom of my parents and put on a pair of my mother’s glasses. I remember looking at my face in the mirror and thinking that it would be quite cool to wear glasses too, it had that feeling of studies or sciences… I associated it with knowledge maybe, and I also thought it had that sexy look. A few years later I realized I was
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Observation as an Act of Creation by Jean-Baptiste Duret short-sighted. It was quite sudden as I hadn’t seen the change coming, and one day I was forcing my eyes to look at what was written on the blackboard by one of my science teachers. At first I didn’t tell my parents. I didn’t want them to know about it and I was secretly hoping that it would all get better as suddenly as I had realized it. Well, obviously it didn’t get better and I’m wearing glasses as I’m writing this article. With the years passing by, I came to understand that this short-sightedness was giving me the occasion to focus more on what was close, and it was also giving me this misty vision making things feel cosy and soft around me. It is often quite relaxing to take off my glasses when I’m in the metro or in the street and remove the distraction of the outside world. Now that I know how to focus on what is close, I feel the desire to have this clarity of vision again and I don’t discard my glasses as often. I began to observe how light and colors were interacting together in the outside world. Each object’s colors are influenced by the colors of what is close to them. The light is reflecting upon objects, the colors of the objects influencing what would be the color of the light reemitted to the other objects. Thus a red ball upon a green table would look different to a red ball on a blue table, though it would still be the same color, so to speak. And the ball would certainly cast a shadow upon the table if
O
the light hits it directly. But I was frustrated by what seemed to be my inability to use the tools at my disposal through drawings… it seemed to me that I was unable to use the colors or the brushes in the software to create what I wanted. I realize now that what was most interesting me was the observation process and not so much the time spent in the production of a painting. That’s why I naturally felt more attracted by the use of 3D software than continuing in the direction of painting. With the 3D software, I only had to create the blueprints of the objects, an aspect with which I felt comfortable, and then I could apply existing textures or create textures with some procedural functions of the programs that automatically applied them on the surfaces of the objects and calculated the different reflections and influences between the environment, the objects and so on. In a few clicks… well not so few, but in less time that it would have taken me to draw them myself, I could render landscapes and objects without having to bother with how the shadow would be cast or how colors would influence each others and so on. I still had to manage the positioning of the objects, the light, the environment, the camera… and I was intrigued by all those parameters you could apply to the camera that were completely esoteric to me. I was modifying them without having any idea of what could be the effect on the final render.
bserving is not only receiving information through senses, but it is also organizing it in pieces that make sense, creating relationships, creating memories, creating stories…
Playing with Lenses... Observation as an Act of Creation, continued from page 20 At the same time I was continuing my observations of my outside world, the lights, the objects at different times of the day and different weather conditions, all influencing what I could see and what picture of the world I could create with my perception. It took time, but I eventually began to take pictures with the built-in camera of my mobile phone. First it was a game, and it was quite similar to the 3D software, placing the camera at a certain position, using the light of the environment and rendering the picture just by clicking a button. The first ones were to show my friends objects that may synchronize with what they were experiencing in their lives, and then I was taking pictures of objects that I liked or of arrangements that I found interesting. With the 3D I hadn’t the feeling I was part of what I was creating, though I could really get involved in it for lengthy time frameworks. Doing it with my camera was really giving me that feeling of being part of the environment I was trying to show; I really was experiencing it through my senses. Soon I felt limited by the possibilities of the builtin camera and I started thinking of buying a bigger one. I wanted something I could manipulate to a great extent and not something completely automatic. My friend Eric had a dream once in which I was using some kind of machinery with many lenses that I was manipulating with great dexterity. At that time I connected it to how I manipulate
my different aspects related to my perception because I can feel how I’m always adjusting something and moving my attention swiftly. I could relate strongly to this image of his dream, and thus after some research I bought a reflex camera on the web just before going on holidays a few weeks ago, the trip to Spain would be a great occasion to familiarize myself with it. I spent the time before it was delivered to me to read what I could about photography and cameras. In the process, I also understood what I’d been doing with the 3D software settings all that time, and how I could use them after that. I’m not done with it yet. During the trip, I had to pay attention more closely to my environment in order not to walk on a misplaced pooh or to stumble upon a stone. And I didn’t want to spend all my time manipulating my camera and missing all the fun of being with my friends. At the same time I was paying attention to the light, its intensity, its direction and how I could use the reflection on different objects or the shade of the trees to create different effects, and I was paying attention to the movements of my friends and my own movement in relation to them.
I realized that when I was too focused on taking pictures to train myself I could miss everything, even what I wanted to take a picture of. But refocusing differently I could find that lizard again, which was actually waiting on its warm stone. I realized that it wasn’t only a matter of adjusting the settings of the device, but also I had to place myself in relation to what I wanted to capture… zooming in and out, moving closer or farther away, climbing on a rock or lying on my belly to be able to have an interesting angle of vision. And with living animals I was seen and they reacted to my presence and to my movements like these pigs in the Meredwen mound that were following us… I was a bit frightened they got too close while I was trying to adjust the settings of the camera and gave up (grin). All in all, observing my own experience gives me the desire to experience more, and to experience in many directions as well as different aspects of the same things or actions. It is not confined to the outside world and I know that this is only the beginning, so to speak, of this exploration which is for me the exploration of the reality as a reflection of myself.
Essenscope by Luce Mong
Borledim ~ Take some
time out for yourself this month! You may have been beginning to feel that fifteen kids was ten too many this past year, but May is the time to focus on yourself. Accept the mayhem and emotional outbursts around you, find a quiet place and chill! Treat yourself to a big bunch of pink roses, you deserve it!
Milumet ~ Never mind
dusting all those pebbles you’ve been collecting, forget spring cleaning and go for a nice long walk in the woods. There’s all the simultaneous time in the world and May should see you scampering about in the spring flowers with the wind in your hair. It’s a wonderful world out there and it’s all yours! Treat yourself to some red hiking shoes, they will keep you grounded in the woods.
Gramada ~ Pay atten-
tion to your dreams this month.
Start a dream journal, if you haven’t already, and you may receive some valuable insights in May. An encounter with an carrot haired pop-in is on the cards this month, so don’t turn down any social invitations! Pay attention to oranges in unexpected places, especially in your dreams.
Vold ~ It’s been an emotional time for you lately, and there’s no indication that will lessen anytime soon, particularly if you are of the ‘soft’ orientation. But there is more than one emotion in the toy box! Choose wisely, and you will have a ball. Pay attention to the colour yellow, it may surprise you! Ilda ~ You can be a bit of
a blabbermouth at times! This month, however, rest assured that those impulses to share all and tell all are in perfect alignment. There is a strong prob-
To read your Essenscope, you may need to know more about your affiliation. A few starters here (images) http://www.flickr.com/photos/lfdeale/sets/528072 or here (text) http://www.eliasforum.org/digests/essence_families.html
ability of receiving mail in May, from an unusual source. Pay attention to spam, especially green spam.
Sumari ~ You’re never one to stick around and mow the grass, are you! Well, no need to worry, more than one man went to mow. What you don’t finish, rest assured that someone else will tidy up afterwards for you. Focus on your creative side this month, and remember to be playful! You may notice the colour blue in unexpected places; it’s a clue! Tumold ~ Indigo is your
colour, dear Tumolds, so order some indigo powder paint this May and paint your world blue! It's playtime this month, so never mind sick granny and that old dog next door, it's time to focus on yourself and have some fun. Go for a walk on the beach and feel the sand between your toes, climb a
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mountain, or go fly a kite. It's a wonderful world out there!
Zuli ~ It’s almost summer and we know what that means for Zulis! But relax, you look just great as you are; a happy smile and an enthusiastic attitude are all you need this month, so focus on fun and outdoor pursuits. May is a good time to take up a new sport, especially if you are Sumari aligned. Purple fruits and berries will keep you in tip-top shape this month. Sumafi ~ Lighten up and
take a break this month! You’ve done a spectacular job recently, and your superb organizational skills have been in perfect alignment with others around you. Kick off your filing cabinets this month, and have fun! Yellow is this season’s black, so treat yourself to something new in sunny yellow.
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Book review
Wild Stone Heart, by Sharon Butala
a book review by Tracy Marshall “Open your mind to the fascinating and magnetic presence of a `field’ - not only a field of dreams, but also one of realities, past and present, that reveal themselves over time.”
C
hosen at random in a second hand bookshop, Wild Stone Heart by Sharon Butala is a wonderful story of a “psychic archeologist’s” explorations in a field on the prairies of Saskatchewan. (The author, however, does not use the term ‘psychic archeology’, a phrase coined later by Kenneth McSween.) Butala questions her sanity throughout the book, or more correctly, worries that others may doubt her sanity. She hears the ‘voiceless voice’ and dreams of ‘the field’, makes numerous discoveries, experiences unusual phenomena, and translates them according to official histories which never quite ‘fit’ with her experiences. Largely disappointed with the opinions of mainstream archeologists, she is left puzzled by conventional explanations, but remains deeply touched by the magic of the location. She leaves the reader to draw his own conclusions.
“One day as I was walking an area of small, low hills, I found a white quartz sphere about the size of a billiard ball that looked to me to have been chipped by a human hand into its spherical shape. […] I suppose because it had been my habit not to take things away from the field, I left the quartz shapes where I found them. But I kept thinking of them, and away from them and the field they seemed to me even more remarkable. Inevitably, I eventually went back to find them again. I remembered exactly where they’d been —the precise hill, the correct side of the hill, the place on the hill where I’d picked them up. I searched that small area for a couple of hours […] without finding them. They simply were not there […] One day, a week or more after the original find, searching the original location, I found two stone artifacts that might
MAY 2008
Chosen at random in a second hand bookshop, Wild Stone Heart by Sharon Butala is a wonderful story of a “psychic archeologist’s” explorations in a field on the prairies of Saskatchewan. A most interesting experience! Elias1 has an unusual explanation on erosion:
In chapter one, The Field:
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once have been, more or less, a white stone sphere and a white stone stick. They were hardly identifiable, chipped and misshapen with growths, discoloured by contact with the earth and plants, and overgrown with lichen, a far cry from the pristine white sphere and ball I remember holding in my hands. Perhaps these two dubious objects I was holding now were indeed the same ones, but a thousand or two thousand years after their fashioning. I could not decide what to make of them, and finally, deeply perplexed, I set them back where I’d found them…”
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“Objects created within energy into physical form may only be focused upon and retaining their focus temporarily, only as long as your concentration holds them to their form. Your scientists view ruins, as archeologists seek the past, and they explain the disappearance of parts of artifacts by expressing that they have been eroded. Time has created their disappearance. This is incorrect. You have created their disappearance, by allowing your concentration to relax. You do not continue with your concentrated energy focused upon certain elements that you have created within your world; therefore parts of them disappear. “Your curiosity, and your desire to be always creating, creates new elements within your world, and this is how new things appear […]. The reason [any element that you have created already] remains is that there are essences continuing to concentrate their focus, to keep the focus present.” In chapter three, Visions, Butala expresses her doubts and feelings of being misunderstood about her experiences while being unable to ignore or discard these.
“And in the meantime, since nobody understood my experiences and was questioning, pushing, and criticizing me, making me conclude that I was simply insane or that none of it had ever happened, I left these questions hanging, and walked on. Impressions, and the validity of the information offered within the communication, is also clarified by Elias: “An impression is a communication to yourself. It may not necessarily appear initially to be rational or logical, and it may also appear within your rational thought process to be an expression of imagination. But what you do not recognize within your beliefs is that imagination is also a communication and quite real. What you may imagine in some expression of consciousness is. “Therefore, as you generate an impression that may translate into a feeling or an image or a thought, […] as bizarre as it may seem to you objectively, you are offering yourself information.”
1 The Elias material is held in copyright by Mary Ennis http://www.eliasweb.at
I woke, amazed. I thought it a wonderful concept, the revelation from somewhere deep inside me.” The author then examines the meaning of the word ‘wild’ and concludes:
Story, myth, imagination… Apparently all of the realm of chimeras, and yet, according to Elias, myths do have a reality and a more profound importance than we usually surmise:
In the prologue, Hauntings, Butala expresses more about the powerful attraction of the wild and of the invisible ties that echoed in her and makes her realise more of their reality:
“You view myths as fantasy and imagination. We have discussed imagination at length previously, as it is reality, but you do not believe this! […] I have expressed to you, every manifestation within this Regional Area 1 of consciousness is a mirror image of known realities. In this, within Regional Area 2, you have created myths; ideas, creations, thoughts, emotions, landscapes, sceneries of events, of objects, of reality. These are what your physical reality stems from. Within your consciousness and your intellect, you do continue, to some extent, to incorporate your original myths, although you distort them; therefore creating a loss of reality with them, and also a lack of power within these myths.”
“…I would be awakened for no apparent reason and lying there, I would have the powerful sensation of someone being in the room with us, or several someones, even though I could see well enough in the gloom to know no one corporeal was. Or perhaps I understood on some as-yetundiscovered psychic level that no one physical was there, that some new sense I hadn’t even believed in had for some reason opened up. I remember that on being wakened this way once, I heard a sudden rapid whispering around all the walls and I felt the whole house shiver - yes, that is the only word I can think of for it - and then a moment later, as happens all the time on the Prairies, a sudden, powerful wind came sweeping from down the valley and began to roar around the house, rattling windows as if trying to climb in…”
In chapter four, The Wild, Sharon Butala experiences a powerful vision in a dream, tied in her explorations:
“…I had a dream I was about to enter the field. I was entering the field from the southeast corner with some trepidation composed at least partly of fear and also of a tremulous, hesitant awe, as if something might happen — I did not know what. Suddenly, I saw far ahead of me in the centre of the basin, which is the centre of the field, a low, rectangular platform made of unpainted, weathered wood. I stopped, and as I watched, a man-like creature — heavy-set, powerfully built, wearing a shirt and pants with sleeves and legs torn off at the elbows and knees revealing his tremendously muscular calves and forearms, with hair longish and unkempt - strode, half-bent, out of the wild grasses, leapt onto the platform, and stalked to its centre. A voice said loudly “He is Lord of the Wild”.
“Ah, I thought, perhaps this is all we mean by ‘wild’ - alien, unknowable. But then, why do we yearn for it so much?”
Of this fascinating account, one of the most valuable gems of wisdom that only firsthand experience can provide is found in the epilogue, The Gift, where Butala says:
“What do you want of that field? that ‘voiceless voice’, after years of silence, asked in my head… I thought of all the field had taught me, most of it recorded in this book; how most of it no one would believe, or how they would classify me as crazy or a liar or both… I thought of how, for safety’s sake, to end my book I might say that I had written a myth, although every word of it was true, as all myths are true… I found now that I could only say that I knew what I knew and that the great lesson of my nearly sixty years has been that no matter what the
price, I would no longer refuse or deny my own experience.” I WOULD NO LONGER REFUSE OR DENY MY OWN EXPERIENCE
å
Invitation to delve deeper into our own fields, this book is also a reminder that one does not need a particularly special or significant location for a ‘Psychic Archeology’ exploration. Wherever you happen to be has countless stories to tell, if you listen… And trust what you hear.
Paprika
by Satoshi Kon (2006) Adapted from a Japanese novel, Paprika is a gorgeous visual tale where dreams meet reality like never told before.
Movie review
Butala continues: “I no longer knew at what point the reality of the field… might shade off into the realm of what we call myth […] I had a glimpse that this had to do with something more than story, and I wanted to know what that was — and I wanted to know why the story mattered so much that I was being totally caught up in it.”
T
he premise of Paprika may seem quite simple: a team of researchers in psychology invent a means to record dreams of their patients and interact with them to do some therapeutic interventions. Soon, they discover some of the prototypes are stolen, and are used by an unknown “terrorist” to invade the whole dream world which starts to dangerously bleed-through to the “real” world... But very soon this impression of simplicity fades away as the colorful disturbing dream parade appears and leaves us panting before this visual feast on our plates —unlike the child-at-heart obese genius inventor of the device who gobbles everything with appetite: the whole dream world, like an inflated repressed repository of our collective egos becomes an uncontrolled mayhem more and more undistinguishable from reality. At the end of the movie, nothing is as clear-cut as it was. Even Paprika, the eponymous heroine of the movie (who was used as her dream world alter-ego by the stern-looking female head of the team, Doctor Atsuko Chiba, to illegally help patients outside of the facility) starts to take on a life of her own, which makes us wonder at some point who is the other’s imagination figment. Far from being just a beautiful kaleidoscopic jigsaw puzzle without any substance, Paprika has also some interesting reflections to shed on the subject of the nature of reality. Although clues are given here and there, Paprika doesn’t attempt to explain everything. In fact, there may be as many interpretations as there are viewers. One I found worth noticing is that dreams need “reality” for the experience, as much as the reverse is true. Éric Lemoine
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Art featur
uture Are Closer F e h T Th n I ts c e j b O
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MAY 2008
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han They Appear Art by Kenneth MacSween
“O
bjects In The Future Are Closer Than They Appear Appear”
This phrase popped into my consciousness while we were driving back after a wondrous visit to Coral Castle (Florida). Within seconds of coming up with the wordplay I noticed the initials: “T. B.” graffitied on a cement barricade by the highway and I thought: Time Bridgers imagery!
Kenneth MacSween MacSween, also known as Oba, is an artist living in Florida. Oba is also a member extraordinaire of the Time Bridgers Squad. http://ufoba.multiply.com/
This piece from 1979 is totally hand drawn. The medium is ballpoint pen, graphite and colored pencil. As for scale, the car image, for example, is 6 inches across. The power transformer thingies are from a photo on the cover of an old Niagara Falls Power Company annual report and fortunately I still have it so I can complete that part. The car is from some old Datsun auto ad and the other is a collage (elements of which were mentioned earlier). I haven’t decided yet how I’ll finish this, but I was thinking of a black and white background made of my trademark improvised shapes and forms, my “pictorial language” as it were.
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Meditation, Éric Lemoine http://elikozoe.net
Energy Structures (Tile), 3D model and render by Jean-Baptiste Duret
The intention of WISP is to provide a place for personal stories; inspirational, light, humorous, challenging or anything in between… and beyond. We would welcome any kind of personal writing, artistic works, poems, essays, etc. Find more about us on our website...
http://wisp.focusphere.net Wisp e-zine — Issue #1 — May 2008 No part of this magazine may be reproduced in any form without written permission from the publisher