Because of the lack of hand contact with the glass, Level Three is like taking the training wheels off a bicycle. The child might be afraid that they were the only things keeping her from falling down, and she may doubt her ability to ride. Soon enough, her confidence takes over and she develops her balance well enough to ride freely, without fear of tipping over.
With enough practice, you’ll have as much success in Level Three as in Level Two. Don’t be discouraged if your first successful movement in Level Three takes more time than Level Two did. All you have to do is continue a regular course of training sessions, using the techniques you’ve learned so far, and you’ll be successful. Persistence wins the day at Level Three, so ignore that voice of impatience that’s bound to show up.
Why would Level Three take longer than Level Two? Not only does your energy need to negotiate the glass barrier as it did with Level Two, but now it originates further away from the object, assuming that your hands help extend your energy field. Or maybe we just believe that the glass makes it more difficult. That’s why it’s important to ignore it as much as possible.
Keep your eyes open for micro-movements, and use the same troubleshooting techniques you used before.
After your first success, repeat the experiment with the hands a thumb’s length away from the glass until you feel confident that you can actualize the effect with good regularity. This doesn’t mean that you get to a point where it begins moving as soon as you intend it, but rather that every time you try, after a sufficient period of settling in and of energy accumulation by the object, it begins to move.
For example, let’s say after several successes you notice that it takes about five minutes before the object starts to move. You know that during the first five minutes you can apply the breathing technique, relax your body and mind, and steadily apply your A&I to the object. You know that around the five-minute mark, you can expect to see movement.
Once you have established a level of confidence similar to the above example, it’s time to stretch your ability by moving your hands farther away. You might try an extra half-thumb’s length from the glass. Just move your hands far enough away so you no longer have an effect on the object. Then make that your new starting point.
Every time you put more distance between your hands and the object, take the same attitude you had when you were a complete beginner. Let go of any expectations, and of any impatience, and simply apply the technique with a sense of innocence. Be open to taking as long as necessary before the effect occurs again.
When you find success at the new distance, spend several sessions there gaining proficiency with control and speed, just as you did at earlier levels.
When you can still actualize telekinesis while keeping the hands a palm’s width away from the glass, you’ll be ready to move on to Level Four.
To watch a video of Level Three telekinesis, please visit: http://www.defyyourlimitsbook.com/delta.htm
20. Introduction to Level Four Training
I see that little girl on her new bicycle, coming down the street. She smiles and waves as she passes, freed from the weight of the training wheels. At the last moment, I see her eyes narrow, and a look of determination comes over her face. She reaches the end of the street, then turns around and starts riding back. Her mother watches from the sidewalk, filled with pride. Excited and a little bit nervous for her baby, her eyes widen as she notices her speeding up. With eyes concentrated on her handle bars, the girl raises her hands, palms out, and zooms up the street. At the last moment, she looks over and hollers, “Look Mom, no hands!”
Welcome to the final stage.
No hands, no proximity to the object. By the end of your training at Level Four, you’ll be able to sit several feet away from the object and make it move. It will still be impervious to environmental influences, protected from wind and heat by the glass container, just as it was in Level Three.
Once you have become proficient at Level Four, you will have significantly strengthened and refined the way you use your mind, body, and energy. You’ll be able to apply your training to other types of telekinesis, and to other types of psi abilities like remote viewing and Extra Sensory Perception (ESP).
There are other ways of exploring consciousness, such as Lucid Dreaming and the Out of Body Experience (sometimes referred to as Astral Projection), and this training can help with those too. Relaxing the mind and body, applying your intention, and exercising a commitment to regular training are just as important when learning how to experience consciousness beyond the physical body during an OBE.
The social difficulty with Lucid Dreaming and the OBE is that for the most part, these experiences seem to be subjective in nature. Most people can’t see someone’s else’s consciousness in a state non-located with the physical body.
In contrast, telekinesis is objective. It can absolutely be seen by anyone present in the room, not only the practitioner. That is what gives it the potency to transform not only individuals, but groups. No matter how unbelievable it may seem, it’s happening right there in plain sight.
Let’s begin now with Level Four training.
21. Level Four, Stage One [*]
At this stage, you should be seated as you were for Levels One, Two, and Three, at the same distance from the edge of the table, the glass container and the object.
Begin each Stage One session as you did in Level Two, by placing your hands on the glass. Spend as much time as necessary to exhibit some control over it. Use everything you’ve learned, Attention, Intention, Relaxation, and The Mind-Stopping Breath.
Once you’ve got it moving, distance your hands from the glass, as in Level Three. Maintain your A&I on the object while you make that transition.
If there is a brief loss of connection causing the object to stop, be patient and continue applying your technique. Avoid stressing about it, otherwise it will further weaken the flow of energy.
Check your body and soften any tense areas. Take a few deep breaths and clear your mind of noisy clutter. Begin anew and stay true to the instructions. After a few minutes the connection will be re-established and the object will begin moving again.
Continue working in Level Three fashion until you can exhibit a fair amount of influence in terms of speed and direction. This will ensure a good energetic link.
Then, spend some time fully relaxing toward the object and allowing it to move “anyway it wants to” (for lack of a better phrase). Give up any sense of control and place more emphasis on deepening your own relaxation and sharing it with the object. Continue applying your A&I. Think of it this as though you were loading it up with more energy than usual.
After a few minutes, take your hands off the table completely and place them comfortably in your lap. If you’ve come to subconsciously rely on the use of your hands, this may be a difficult adjustment to make.
It’s possible that you developed a belief along the way that an energetic emission from your hands was significantly responsible for the object’s movement. If that’s the case for you, then this will be a slow process of dissolving that belief. I hope the possibility of moving an object just by looking at it excites you enough to want to discard your dependency on the hands.
While transitioning your hands to your lap, continue the rest of the technique. Maintain your overall sense of connection with the object as much as you can. Remember to entrain yourself with the object by noticing its details.
Notice its colors and creases, remember its odor and taste, and recall how it felt the last time you touched it.
If the connection was maintained when you put your hands in your lap, the object will continue moving. However, if the connection was lost, the object will soon stop.
When it stops, your inner non-believer will rise up and start bellowing “Halleluiah! I knew I was right!” As always, let that doubt have its own corner in the back of your mind while the rest of you gets back to work. Success lies ahead.
Spend at least fifteen minutes a
pplying the technique to the now non-moving object. Avoid becoming impatient, and avoid filling your mind with noise. Remember to use the Refrigerator technique when necessary. At this point in your training, it will be easy for you to identify when excess noise has arisen and to instinctively use relaxation to counteract it.
If the object begins to move, continue applying the technique until you feel ready to end the session.
If the object still has not moved, work backwards as a way to end the session. Go back to a Level Three posture, with your hands near, but not touching, the glass. Try to actualize telekinesis at that point.
Then after several minutes, whether or not the object moved, go to Level Two by placing your hands back on the glass. Continue your efforts for several minutes. If by now you haven’t moved the object, the most likely reason is that you are tired.
A Note about Exhaustion
You are approaching the most difficult stage of telekinesis taught here. It will be important for you to notice when you’ve become exhausted.
Athletes can over-train and then find it difficult to recharge. Actors can be overwhelmed and unable to memorize new scripts. Writers can burn themselves out and find it difficult to hold ideas together. Exhaustion is a natural aspect of any type of skill-building.
When this happens, the best thing to do is to rest. Exhaustion has a way of provoking feelings of resignation and depression, so you want to rest whenever necessary. Once you’ve rested, perhaps for two or three days, you can return to your training feeling optimistic and energized. After you’ve rested, start with Level One to re-establish your confidence, then work your way up from there.
Summarizing Level Four, Stage One
Start your session with Level Two, hands on the glass.
After a few minutes of motion at Level Two, immediately shift to Level Three, hands off the glass.
After a few minutes of Level Three, move your hands to your lap and continue with the rest of the technique.
Continue for at least fifteen minutes, regardless of there being movement or not.
To end the session, revert to Level Three for a few minutes.
Continue backward into Level Two for a few more minutes.
End the session when ready.
Train with the Level Four, Stage One sequence until you are able to maintain your connection with the object, and keep it moving, after shifting from Level Three (hands off glass) to Level Four (hands in your lap).
To watch a video of Level Four, Stage One, go to: http://www.defyyourlimitsbook.com/epsilon.html
Once you are able to repeat that level of proficiency with regular success, go to Level Four, Stage 2.
22. Level Four, Stage Two [*]
First, let’s set a fair expectation for success at Stages Two and Three of Level Four. These are likely to require far more time for completion than Levels Two and Three did. Be prepared to spend anywhere from several weeks to months of regular practice before achieving success. Every practitioner is unique, so some will experience results faster than others. Here are the main factors of success at this level:
Regular practice
Passion
Commitment and will
Staying true to the instructions instead of trying new things out of desperation
Continually deepening your capacity to relax and to stay present for long periods of time, even after weeks of non-movement with the Level Four portions of the exercises
Increasing your ability to experience a sense of oneness and connection with the object as described earlier
Stage Two is the half-way mark to completion of Level Four. It extends the sequence of training from Stage One, forming a bridge to Stage Three.
Repositioning your table and seating arrangement
You will either add an additional chair to the table now, or be willing to move your chair to the other end of it at the appropriate time in this exercise.
Move the object and its glass container to one end of your table, along with your chair. You will be starting seated close to it as you did in the first three levels.
Repeat the beginning sequence of Stage One, doing Level Two, then Level Three. Then at the moment when you would normally move your hands to your lap, instead get up and move to the opposite end of the table. Leave the object where it is.
While you move to the other side, keep your A&I on the object. It’s alright if you can’t keep your eyes on it while you walk over. It’s more important for your mind to remain linked with the object.
Sit down across the table from the object, again with your lands in your lap. The object may still be moving at this point, or it may have stopped. Regardless, continue applying all the techniques you’ve learned – the relaxation, A&I, the Mind-Stopping Breath, and the rest.
Even if the object remains stopped, continue applying the technique. Remember that energy takes time to build in the object, and in a way, you’re completely starting over.
Apply the technique for at least twenty minutes regardless of whether or not the object moves, then work backwards as you did in Stage One. Walk back to the other side, sit down, and try again. Then try it using the Level Three technique, then Level Two.
An important note regarding distance. It is still important for you to be able to see the object well enough to entrain with it, so you’ll need to adjust the object’s position in order to do that. If the object appears blurry from across the table, I suggest you move it in toward the center of the table only as much as necessary for you to be able to see it clearly from both ends.
Summarizing Level Four, Stage Two
Start your session with Level Two, hands on the glass.
After a few minutes of motion at Level Two, immediately shift to Level Three, hands off the glass.
After a few minutes of Level Three, stand up slowly and walk to the opposite end of the table. If you can, keep your eyes on the object while you reposition yourself.
Sit down gently, keeping your hands in your lap.
Continue applying all the techniques from Levels One, Two, and Three (except of course the use of the hands) for at least fifteen minutes, regardless of there being movement or not.
To begin closing the session, get up again and sit in your original position.
Revert to Level Three for a few minutes.
Continue backward into Level Two for a few more minutes.
End the session when ready.
Train with the Stage Two sequence until you are able to maintain your connection with the object (and keep it moving) after getting up and moving to the opposite end of the table.
To watch a video of Level Four, Stage Two, go to: http://www.defyyourlimitsbook.com/zeta.html
Further indicators of entrainment at Level Four
If your training regimen is steady, perhaps practicing every day or most days of the week for forty-five minutes to an hour, it is likely that you will experience another indicator of entrainment at this point[*].
You probably already experienced the anomalies of relationship, mentioned earlier. For example, sometimes when you enter the room or sit down in front of the object, it begins to move even before you’ve begun applying your A&I.
At Stage Two, you will encounter an extension of the same phenomenon. The object will respond when you stand up to move to the other side of the table, and continue moving as you seat yourself and get settled.
If Albert Einstein hadn’t already coined the now popular phrase “spooky action at a distance,”[**] that is exactly how I would refer to this effect. An observer inclined toward the paranormal might see what’s happening on the table and suggest that a ghost is making the object move[***].
It may even move more than when you were actively trying to influence it. This makes sense though, since your thinking mind has likely detached itself momentarily to focus on moving your body to another seat. In that moment of distraction, the energy and intention were able to finish what you had begun, without interference from your conceptua
l mind.
The advantage of this occurrence is that once you’ve sat down and noticed the movement, you can relax in the confirmation of your connection to the object. This relaxation will extend itself into your re-continued application of A&I, and it will help continue the movement.
You’ll become confident that you are in fact still influencing the object, even when it stops during your transition to the other seat.
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