https:\/\/powersourcerer.com\/wp-content\/uploads\/2022\/08\/Our-Essence-Across-Time-and-Space-Part-2-Aug-16-2022.m4a<\/a><\/audio>\nI kept the original phrasing as I transcribed this experience. It isn\u2019t always the most eloquent or concise and the writer in me fights to edit it. I do edit but only for typos and glaring grammatical errors. The reason for this is that I find that the way I describe something often contains meaning. For instance, why would I repeat that the dog followed me rather than saying that the dog refused to stay with his master? Or why would I describe the kaftan I was wearing in exactly the way that I did? Although it has been more than two years since the experience, I can still feel the kaftan against my skin. I should also mention that it can sometimes be years before the significance of a session comes to me consciously.<\/p>\n
I\u2019m aware that I have been working with a theme over the past few years \u2013 since I changed my logo to a laser beam arrowing into the center of a heart. I keep asking what \u2018Multi-dimensional\u2019 means, to me and to others. What is this shift from the \u20183-D\u2019 to the \u2018Multi-D\u2019 and what is my role in this shift? How do I navigate it? How do I help others to navigate it?<\/p>\n
Often, my work involves helping my clients, friends and family to understand the themes that seem to be running through and around multiple lifetimes. We discuss the overlapping gifts, relationships and life challenges. We look for similarities and differences and query the potential for developing awareness across parallel lifetimes or through time and space. We ask what can be influenced, learned or healed from this time and space.<\/p>\n
I always do, with my clients, what I have already been doing myself. I regularly remark that I learn something in my own life and turn immediately around to pass it to the person beside or behind me on the metaphorical learning ladder. You may be curious as to what I felt was revealed to me in this session. I think I can safely say that the whole session addressed the Multi-D theme. We moved through and across lifetimes and I followed two other players or souls, with whom I interacted in all three.<\/p>\n
The Beach Scenes<\/strong><\/p>\nThe first beach scene almost felt like an introduction; man, dog me. I thought, \u2018You!\u2019 and yet I had the thought that we didn\u2019t know one another, as we stood, each in our own reality, on the beach. There\u2019s a sense of knowing him and yet not. If this scene introduces the characters or roles, I wonder who this man is, who am I and who is the dog? Are they three aspects of me? Are we three, members of the same soul family?<\/p>\n
In this scene, there was an emotional tone of solitary reflection, peace and comfort. I seem to be able to look at them through time and not be seen \u2013 although the dog seems to sense me in this scene. The man is perhaps well-grounded into the solid, wet beach with his bare feet and rolled trousers. There is a stiff wind off the ocean and, although the weather is fine, it isn\u2019t the sort of weather for lazing under an umbrella. I am cautioned not to make myself known as I witness the man and dog. The scene is spacious, open, clear, unobstructed by any beach debris, stones or promontories. It feels like a reflective pause.<\/p>\n
The second beach scene introduced the element of connections between lifetimes, be they ever-so-ordinary; man is connected to boy and I am connected to sailor. And the beach is similar, albeit around the corner of time, but the feeling is of action rather than reflection. The beach is smaller and more intimate than the one in the scene before. There is a sense of delighted recognition and rightness when the boy finds me on the 6 beach. I often experience this in this lifetime. This scene feels like a turning point in that life, with a clear before and after.<\/p>\n
My Interpretation of the Transition<\/strong><\/strong><\/strong><\/p>\nAs I think back a-ways, I believe that my association with a beam of light, as being familiar to me and a means of connection with my higher self, extends further back than my new logo and the concept of using a laser beam to bring through information when I channel. What I\u2019m saying is that a beam of light is both important to me and familiar. In this session, I am using it to travel from one scene to the next but the dog recognizes it as well.<\/span><\/p>\nThat makes me curious about what who the dog is or what he represents. (I felt it was a \u2018he\u2019.) Whichever, the dog in dog-form seems to be part of the two earthbound beach scenes. He shows up in the spaceship scene, familiar and connected to me but in a different form, and still belonging with the man. I wonder why. I stated in my observation that he \u2018has to stay with the man\u2019. It seems that \u2018I\u2019 draw \u2018a line in the sand\u2019, perhaps representing a boundary. The dog doesn\u2019t like it and the man doesn\u2019t see what the dog is reacting to. Both reactions may be to inconsequential events, that are puzzling more than aggravating. I imagine this might be similar to my reaction to some of the energetic boundaries that I encounter in my life. The man thinks the dog is a \u2018goofball\u2019. This is not a term that I use, therefore I consider it to be significant and not just \u2018inconsequential\u2019! This is a transition between scenes so I wonder what it says to me about transitions. Some part, whether of me or my soul group, can see beyond the obvious, can move between realities, but doesn\u2019t understand why there are boundaries or barriers.<\/span><\/p>\nThe City Scene Interpretation<\/strong><\/p>\nThe Main Level\u2026<\/span><\/p>\nThe scene on the busy plaza and in the bustle of the lobby of the public building in the city, introduced me as a character I recognize from my twenties in my present lifetime. Although it didn\u2019t reflect an actual experience from this lifetime, it perhaps presented me with a lens, through which to consider the present me and some of my qualities that were present in my twenties and are still present now, in my sixties. These qualities may even extend beyond this lifetime.<\/span><\/p>\n\n- I do my work publicly and in large cities.<\/span><\/li>\n
- I have great respect for public libraries and galleries, providing access to knowledge and culture for all. I see them as representing our reflection on our culture and what it can and could mean. As represented here, these nameless, faceless people reflect \u2018culture and society\u2019, as opposed to what might be represented by individuals whom I might know personally. I describe the area as \u2018where people arrive\u2019.<\/span><\/li>\n
- Does this perhaps represent an entry and egress point for souls in this dimension?<\/li>\n
- I can appear to conform to the public norms, represented by the dark-grey suit, while laying claim to the part of me that is creative and quirky, reflected in the unusual suit design and signature, funky shoes. I think this may represent a duality within me.<\/span><\/li>\n<\/ul>\n
Up above\u2026<\/span><\/p>\nI believe the elevator to the top, mirrors how, in my life, I shift between perspectives and therefore levels of understanding, which is represented by the transparency of the glass-tube elevator. I have had a recurring theme in my dreams, since my twenties, of getting on and off elevators, often with a struggle on the return to get to the floor I want \u2013 ‘getting back\u2019.<\/span><\/p>\nThe top floor I imagine might represent the fact that, in this lifetime, no matter the level at which I begin, I usually end up talking to the decision-makers in an organization. I don\u2019t think this indicates prestige as much as a place where one can \u2018see more\u2019. As I emerged from the elevator, I thought of it as the eighth floor. To me, the number eight represents power and I see myself in my current lifetime as helping people to empower themselves. Because I traveled up to get to this space, I\u2019m assuming that what took place on this floor represented a meta-perspective on my life in the public sphere.<\/span><\/p>\nI described the space as feeling peaceful. I do believe that in general I feel most peaceful when I can attain this level of perspective. Clean \u2018design\u2019, as I observed on the top floor of the building in the scene, incorporating a predominantly white background with colour blocks and abundant light, has long been important to my well-being. I note my use of the word \u2018design\u2019. I believe that we \u2018design\u2019 our lifetimes with our soul-purpose in mind. Here it may represent my experience as an Intergalactic being on Earth. I see myself as essentially a \u2018being of light\u2019, striving to help people find perspective and clarity in their lives. I help them to reflect on their purposeful design.<\/span><\/p>\nThis level of the building is unpopulated. Even the meeting rooms are not of enough import for me to notice whether there are meetings in progress. Does this lack of living detail shift the focus to the potential of design, as yet unrealized? Does it indicate the as yet unrealized potential of my life? Even the coffee cups are laid out before there is anyone there to drink the coffee. Moving on to the oranges, I interpret heaped piles of anything, as signifying abundance. I noticed that the orange colour was vivid enough to draw my attention \u2013 almost as if it were itself natural art, displayed or offered, on the low table in the middle of the seating space. Orange can be associated with the second chakra, representing creativity and passion. On a metaphorical level, is this showing me that the artwork and space have been created but, as yet, there is no one to regard or appreciate it.<\/span><\/p>\nI adore coffee and conversation. In fact, I would say it is a mainstay of my life this time, and perhaps in other lifetimes as well. It encompasses an opportunity to connect, to share, in an egalitarian setting, to exchange perspectives, ideas and stories. The table was set for coffee, although it had not yet happened. Was this what this meeting was about?<\/span><\/p>\nAnd the man himself, who has shown up yet again in this scene\u2026 he appeared out of another space off to the right which I couldn\u2019t see, so perhaps there is still another perspective that I don\u2019t yet see. I felt comfort, familiarity and trust in his presence. It was as if I were meeting an old friend with whom I had a meaningful connection. With the lifting of his eyebrow, it was clear to me that he felt this recognition as well and I wonder what we were recognizing in one another.<\/span><\/p>\nI returned once more to noticing what I was wearing and in more detail than earlier. I don\u2019t believe this is just happenstance. I noticed and recounted the entire design of the suit and the shoes and could feel myself wearing them. And I also noticed what was missing; the jewelry and purse, neither of which I would normally be without if I were away from home and dressed for business. I wonder whether, instead of my identity residing in my purse and choice of jewelry, it\u2019s in the design of what I wore. I don\u2019t actually own clothes like these, nor like the ones from the beach scene, so they must be representative in some way.<\/span><\/p>\nSo let us dive a little deeper into the significance of the clothes. I have never owned nor worn a kaftan. I have a clear impression of this one as being made of silk that was light and floaty, with a beautiful black, white and silver-grey pattern printed on the silk. It was a work of art that I noticed but only paid attention to briefly.<\/span><\/p>\nAs for the suit, I like suits, as a deliberate ensemble, although I haven\u2019t owned or worn them since I left the business world thirty-something years ago. I like the colour gray well enough. I even like gray suits. What I don\u2019t like is having to wear a gray suit, as if it were a business uniform that denotes an agreement with the system in which it is worn. Although I\u2019m wearing a gray suit, it has a design twist \u2013 a form of silent rebellion perhaps. Further, I\u2019m wearing it with what would have been considered to be inappropriate business footwear; especially in the era in which I worked in this particular city and location.<\/span><\/p>\nFor the footwear, in terms of symbolism, I see feet as what propels me into my future. To have the shoes be works of art, as they are in this scene, perhaps says something about the future into which I\u2019m headed. Appliqu\u00e9 or patchwork denotes something that has been adopted from another source and incorporated into a new item. Is this something from another part of me that has been creatively appropriated? For me, yellow is the colour of mental activity and thus bright yellow shoelaces could represent noticeably different thinking that holds together the two sides of the shoe or of the design of how I move forward.<\/span><\/p>\nReturning to the man, what had changed for him since the previous scene, was his environment. Up on the eighth floor, the space bore some of the same earmarks of creativity as my clothing did. I found myself comparing what we each wore, particularly on our feet. What he wore didn\u2019t have any interesting design elements; I saw it as \u2018boring\u2019. However, I didn\u2019t seem to be judging what that meant for either of us; just contrasting the two. His style of dress was more casual than mine, with corduroy and a more casual long-sleeved shirt. In fact, with no shoes and his trousers rolled up, it was virtually the same.<\/span><\/p>\nWhen he was in the other scene, I didn\u2019t have a sense of the beach being \u2018his space or his domain\u2019, as I did in this space. What does it mean to \u2018own one\u2019s space\u2019? For me, it denotes confidence and familiarity. What does it mean that in this scene he can see and is consciously recognizing and interacting with me? Am I showing myself a progression between these scenes or lifetimes? Is it my progression or his or both? And what would we discover from our connection, if we sat down to have coffee together? It was implied but didn\u2019t take place in the scene. Since I didn\u2019t set up the coffee, I assume that he had someone do it or did it himself. That would seem to indicate an intention to connect. Our communication took place in my mind, perhaps telepathically, and not through the spoken word.<\/span><\/p>\nThe Space Station Interpretation<\/strong><\/p>\nThroughout the session which is comprised of the three scenes, I am astounded by the level of detail I was able to perceive and recount. Even now, a few years later, the session is just as vivid in my memory as it was when I experienced it. For instance, in the beach scenes, I could feel the temperature of the air, the wind on my face and the feel of it blowing the silky kaftan, the cool wetness of the hard-packed sand under my bare feet, the warmth of the dry sand in the cove and the comparative lack of wind. I can hear the dog sniffing <\/span>sand up his nose and snorting it out again.<\/span><\/p>\nOnce in the plaza and the public building, it was my sense of light and colour that was of note. Then when I was \u2018sucked\u2019 out of the second scene and off the planet, I had a sudden and startling sensation of being sucked. It\u2019s in the language I used to describe it; being \u2018coughed\u2019 out in the space around the station. I noted that it was very quiet. In fact, there was complete silence. I could feel myself floating and bumping the structure. Each environment was completely unique in its features but also in terms of how I experienced them with my senses.<\/span><\/p>\nAll three scenes involved a transition preceding the arrival in the location where the more substantial part of the scene would take place: the first beach led around a headland to the next; the plaza and lobby led to the eighth floor via an elevator and; the outside of the space station led through a garage-like door to the inside of the structure. I wonder why I have been provided with these transitions. Is it showing me that I have similar transitions in my life?<\/span><\/p>\nIf the previous scene provided me with a meta-perspective, then this one, since we\u2019re out in space, could be providing me with a more \u2018Galactic\u2019 one. Once again, I encounter \u2018the man\u2019 and I notice that he is older than he was in the previous two scenes. I don\u2019t, however, have a sense of the age of the \u2018me\u2019 who is observing and then interacting with him. Why not? Once again I am in his environment, although I don\u2019t have the impression that this is about his lifetimes as opposed to mine.<\/span><\/p>\nIn the beach scenes, he was apparently unaware of what was transpiring. In the second scene, he was aware of me and of knowing who I was, but not consciously aware of the thread of what was transpiring. In this third scene, I know that he is aware of all of it. He ages and seems to gain increasing degrees of awareness. However, there doesn\u2019t seem to be a progression of age for me, one way or the other; nor do I seem to gain progressive awareness. It seems to me that we represent different things.<\/span><\/p>\nI differentiate between a \u2018command position\u2019, although not the command position, and being a \u2018visitor\u2019. Perhaps this is not the form of myself where I spend all my time \u2013 at least not in this lifetime. Perhaps I just \u2018visit\u2019 here to reorient myself.<\/span><\/p>\nHe appreciates me for being me. In all three scenes, I sense between us reciprocal affection, acceptance, trust and familiarity. I sense that I am exploring but not that he is. The dog who has become his daughter is familiar to me also. I note that they \u2018belong\u2019 together but that my relationship with the two of them is something else.<\/span><\/p>\nAt this point, and still in an altered state, I gave myself a summary of what the session had to show me:<\/span><\/p>\n