Your eyes will seem to take a more passive approach to looking at the object. They might behave more like open windows, and the object will simply be an image appearing within them. Your attention and intention at this point will be firmly established, and you may even feel a strong sense of mental connection from within your consciousness. Your eyes will also feel far more physically relaxed than they did at the beginning.
Imagine that your eyes are more centered on the left side of the object. Or perhaps one end is angled closer to your body, and your eyes naturally rest on that part. The nearby corner is a clear image while the opposite one is more a part of the fuzzy background imagery.
Then a silent impulse arises, almost like an invitation, to move your vision across the object’s surface and rest on the opposite end. You accept the invitation and shift your attention to a different section of the object. Moments later, it begins to move. Why did that happen?
Earlier, I suggested that the eyes listen. The reason I put it this way is because that silent impulse seems like the object is telling my eyes where they need to go. I am not saying that the object is actually talking to me, of course.
I think the message actually comes from the subconscious mind. It knows what we’re trying to do, and it’s asking the body to make the necessary adjustment with the eyes in order to draw the energy more effectively.
More provocatively, what if the energy that is flowing into the object is not only capable of moving the object, but of retrieving information about it and communicating that information back to the mind?
An important question is whether the energy we’ve been talking about throughout the book is something distinct from consciousness or not. Are they really two different things? Like the particle state and the wave state of light, could energy and consciousness simply be two different behaviors of the same thing?
There is another action your eyes may take during a long, quiet session. They may drift a bit, centering just off one edge of the object. Their focus might float just over the top edge, underneath, or beside the object. Your A&I is still fully engaged upon the object, no longer requiring the use of the eyes in the same way. Your mind knows the object is there, you still intend to move it.
The image still appears, but somewhere off center, as a peripheral image.
When you notice that this has occurred, don’t worry, and do not rush to center the image in your visual field. Just notice that you’re still paying attention and applying the rest of the techniques. If several minutes later there still isn’t any movement, you might “freshen up” your session by taking a brief break, and then re-focusing your eyes on it and re-entraining with the object.
This “eye drift” is a sign that you’ve done a great job of relaxing your body and mind during the session. Remember, the more relaxed you are, the better your energy flows.
The relaxation also lets the experience of attention and intention stand out in your awareness, so that you can really tell that they’re engaged. It’s more difficult to perceive those mental factors when the mind is tense and turbulent with other mental activity like self-talk and theorizing.
A note from the ancient spiritual practice “Togal”
There is an ancient meditative practice that many people today encounter through the Tibetan lineages of Dzogchen. These teachings and practices, translated as “The Great Perfection” were known long before Buddhism came to Tibet.
One particular practice from that tradition[*] called “Togal[**]” involves using the eyes to perceive light from various natural sources like the sun, moon, and candle light. It also includes complete immersion into darkness for long periods of time.
The eyes have a unique function during these particular meditations. Their role seems to be curiously similar to how we use the eyes during telekinesis. The description is so intriguing that I include it here for your consideration.
The following is from Primordial Grace, Earth, Original Heart, and the Visionary Path of Radiance. It was written by Robert and Rachel Olds[*], who are well-experienced practitioners of that path. Their text offers the clearest and most understandable introduction to this path available in the English language.
From the chapter Heartlamp of the Eyes[**]
“The fluid receptive nature of the eyes and their ability to perceive light is called the heartlamp of the eyes. The eye has a natural fluid power that reaches out and connects with what it sees, and has sometimes been called a water lasso for that reason. The eyes can meet, hold, push, or pull at need. If this power is guided by the mind, the mind grabs onto what the eyes see, and pulls it back into itself and interprets it in ways that reinforce perceptions upholding separate identity. The eyes can also be used more purely, to connect with and relate, and with this more open use of the eyes, you bond and blend with the visions as they arise.”
I don’t mean to suggest in any way that telekinesis is related to Togal. However, the eyes and their role in consciousness and perception as described in both Togal and telekinesis makes for a provocative comparison.
14. Level Two [*]
I will begin this section with good news and bad news. Remember that at this level, you will keep your object covered with a glass container.
The good news is that once you have succeeded at Level Two, you will have dealt your self-doubt a hefty blow and your telekinetic ability will be far stronger than it was at Level One.
The bad news is that at the beginning, you may become convinced that Level One wasn’t really telekinesis. You might stare at the glass barrier and begin to think that there’s no way you could actually move the object with your mind.
You may start to think this way because in your first session at Level Two, it’s possible that nothing will happen. No movement whatsoever. It will take more sessions to succeed at Level Two than it did at Level One.
Don’t worry. You can, and will succeed. It’s just a matter of working with the ideas in your mind, and putting in the time.
As you sit there in frustration some of the following thoughts might arise:
Look at it! It’s inside that thing, and I’m on the outside. We can’t touch! How on earth am I supposed to do this?
Was I really foolish enough to think that I could move something over there with my mind?
It’s sitting like a rock! And my thoughts aren’t physical, they’re nothing! How could they ever affect a physical object?
I’m mentioning these thoughts now before you begin so that you can deal with them right away. I know them intimately. They haunted me during every session, every week, every month until I was successful. I exercised my will and stayed the course.
My faith in what I believed possible was stronger than my insecurity and doubt. You can have that same faith in yourself.
It was helpful for me to realize that I could continue my regular training sessions and simply expect these thoughts to arrive. I let them have a small corner of my mind to hang out in, instead of trying to force them out. Meanwhile, I got to work, paying attention to the object.
Now that you know what to expect, we can begin.
Using the glass container
Sit at a height that allows you to clearly see the object through the glass. If the top edge of the container falls into your line of sight, it will deform the image as it appears through the glass. Because you are depending on your use of sight to direct your attention, it’s important that you have as clear and unmodified image as possible during the training session.
Arms and Hands
Rest your arms comfortably on the table, so that your palms and fingers are gently placed against the sides of the glass container. Your hands should not press against the glass, only remain gently in contact with it. They shouldn’t move in any way nor should the container slide or shift.
Eyes
As in Level One, apply a gentle gaze upon the object. Pay attention to every detail, then look at its entirety. Completely ignore the glass. Look past it, ignoring any reflect
ions or smudges. Pretend it’s not even there.
Intention
Just as in Level One, feel that subtle movement of mind, that subtle pressure, as you will the object to move through your attention and intention.
Breathing
Begin regular cycles of the Mind-Stopping Breath while maintaining your A&I.
Be prepared to sit with the object at least a half-hour at a time. Even if you become distracted or agitated, do your best to stay present with it. Remember that energy accumulates over time.
Even if it appears as if nothing is happening, trust that a connection between you and the object is being established. What is most important during these long periods of non-movement is that you keep your attention (eyes) and intention (will/mind) on the object as consistently as you can.
During each session, spend the first fifteen minutes following the above instructions. Consider this a period of simply accumulating energy into the object. After fifteen minutes, you can experiment in the following ways:
Try extending the top and bottom of your breath cycles once or twice every few minutes. These are moments when the object could respond to your intention.
Periodically apply the technique from the training exercise The Refrigerator. It’s good to use it when your mind has become especially noisy and when you’re experiencing a lot of self-talk, theorizing, and analysis about the object and this experiment.
Send the thinking mind out of the room, send it away to see what’s in the fridge. Give your intention and energy some breathing room. Just like with the Mind-Stopping Breath, shifting this way may be create the moment when the object begins to move.
It’s not necessary to separate the mind like this during an entire session. Rather, use The Refrigerator when you suspect that you’re overthinking or feeling any kind of excess tension in your mind. If you’re trying to think the object into moving, you’ve departed from the instructions.
We want to feel the object into moving. Take a break, relax, and review the instructions for Level One and Two. You may notice that you are doing things that weren’t part of the instructions, which could be getting in the way. With this kind of telekinesis, more is usually not better.
Entrainment with the Object
The word “entrainment” has different meanings depending on its context. According to the online encyclopedia Wikipedia, in engineering it is defined as “the entrapment of one substance by another substance.” In physics, “the process whereby two interacting oscillating systems assume the same period.” In biomusicology, “the synchronization of organisms to an external rhythm.”
The notions of one substance affecting another and of two systems matching the same rhythm give a sense of the relationship that we form with the object. We’re not talking about a measurable interaction though. Rather, this is what the experience of telekinesis feels like beginning at Level Two and going beyond. We’re tuning in to the object by shifting our mental and bodily experience.
The first step to developing the relationship is noticing how your mind experiences the object as being some distance away from you, your body and mind. Actually, we assume that separation from our whole external world. We’re here, and everything else is out there, distant in space. To develop a relationship with the object, you need to soften that unspoken belief of your separation from it.
In a coming chapter, Mental Models and Basic Principles, the working hypothesis is that when we perceive through our physical senses, we separate from reality. We’ll learn that what we perceive in our brains is only an electrochemical translation of a signal passed through the nervous system.
The eye itself is only capable of perceiving a select portion of the electromagnetic spectrum, so it’s not seeing everything that’s out there. Our brain creates a model of the external world, and part of that model is the sense of separateness between you and the object. Simply reflecting on this idea can be enough to open your mind to unseen possibilities.
In our case, this information can help us feel more connected to the object. We no longer need to believe that we’re truly separate because there’s enough evidence to suggest that things are different than they appear. Maybe we’re more connected than we thought. Maybe we, and those things we consider out there and apart from us, are really all one thing.
The “maybe” is enough, we don’t need to depend on proof from the world of physics or believe what various spiritual traditions have to say. Your experience of moving an object from a distance will give you adequate data for your initial consideration.
To close the distance between us and the object, there are special ways to perceive it. First, notice the details. Look at its shape, color, and texture. Notice the creases, wrinkles and angles. There’s no need to memorize anything, just paying close attention to it is enough. Look at the edges of the object, the dividing line between it and its surrounding space.
Next, imagine what the object feels like. If you can’t recall what tinfoil feels like, take it off the needle and spend a few minutes feeling it carefully with your fingers. Notice its temperature, the smoothness, and how the flat portion feels different from when you run your finger along its fine edge. How heavy does it feel?
While you’re holding it in your hand, you might as well take a few whiffs of it and see if it has an odor of any kind. It might be subtle, but it’s there. What’s it like? Touch your tongue to it and get a sense of its flavor.
Place it back on the needle and cover it with the glass container. Return your hands to their position and begin applying your A&I. At the same time, bring to mind all your sense memories that you just created, feeling, tasting and smelling it. Keep your eyes on it and continue to appreciate the details.
Let’s assume that when you did Level One, you weren’t perceiving the object the way you will now after reading the instruction above. You regarded it as only an image some distance away from you. With these new instructions, your perception will widen, adding a fuller dimension to the object. Your idea of the object will have more texture, more to experience, and this will provide something more for your intention and energy to come in contact with.
As you continue applying your A&I toward the object in this more intimate way, the quality of separation and distance will weaken.
Consider how you regard your own hand. Hold your arm out straight. Does it seem far away from you? If you tend to be a logical person you might say “Yes!” because your eyes are up here and your hand is out there. If you’re more of an intuitive type, or feeling-related, you’ll probably respond with “No, it doesn’t seem far away from me at all, it is me, or a part of me. It’s in the same place I am.”
The second person is communicating the same experience of relationship that we want to develop with the object. We want to feel like the space between the object and us, as well as the object, are a part of us, connected with us.
As with many aspects of telekinesis, it’s better not to overthink this concept. Let time do the work instead. You will feel more connected to the object near the end of a long session than you do at the beginning.
You will also feel more connected to the object after several weeks of looking at it than you do after only a couple of days. All you need to do is show up on a regular basis and apply the looking, breathing, and the A&I instructions.
One day you might notice that the object just seems to be more a part of you, or your mind. It’ll almost feel as if it would move the way your hand does, in response to a mental impulse. Or it may lack that subtle quality of separateness, the out-there-ness. Remember, this experience is more of a feeling tone in the mind than anything else.
The following scenario may help describe this experience. Assume that in the beginning you behaved as if your consciousness was centered in your head, looking out into the world through the windows of your eyes. They saw the object out there. During repeated training sessions, your consciousness began to feel like it had extended beyond the boundary of your head, occupying the
space in between you and the object.
The sense of you felt expanded beyond your body. You even had moments when that sense of you included the object. It’s as if your consciousness had expanded out across the entire distance and enfolded the object into its own space.
When you have the experience described above, you may begin to sense that the connection is almost strong enough so that when you gently push and pull your consciousness along that space, the object will be moved by it. This may or may not be related to how telekinesis actually works, but if you begin to feel this, or any similar experience, then it indicates that you have established a good degree of entrainment with it.
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