Before we delve into today’s post, check out the last Ask Erik column on Sivana blog. I recommend you explore other aspects of the blog as well. The column will also be out in the Sedona Journal soon. Click HERE to read!
Also, Raylene is now accepting questions for her February Monthly Q&A with Erik. If you’d like to submit one or more, go to her site HERE. Her accuracy is among the best I’ve ever experienced. Don’t delay, though, because she can only take a certain amount, and it’s first come, first serve.
Sorry for such a short intro. I’m getting ready to fly to California to take care of my sister, Teri, after a surgery. I’m not sure if I’m going to be able to post anything tomorrow. It depends on how much of a pain in the ass she is. HAHA. Just kidding. She’s a great patient.
Enjoy today’s Best of Erik!
Now, Erik is going to play the teacher and show us how to see our deceased loved ones. May I suggest you do this in solitude rather than in public. As you will see, if you were to practice these techniques in a busy mall or grocery store, you’d be hauled off to the loony bin in short order.
Me: Can we learn to see things differently, like training our brains to slow down our perception of that high vibration so, for example, we can see the wings of a hummingbird in flight at a complete standstill? I mean, is there some way that we can do that so that we can see our deceased loved ones who are not visible to us because they’re vibrating at a frequency that’s just too far above our visual spectrum?
Me: Oh, okay. So, we need to make software that will help us train our brains to do that. That’d be so cool.
Erik: Well, there’s other tricks as well such as blinking your eyes very fast when you’re looking at an object that’s vibrating or moving really fast.
Me: Oh, yeah!
I grimace as my cat tilts her head with concern as she watches me flutter my eyelids.
Erik: It takes snapshots, and because the eye is shutting off and turning on, it doesn’t allow the pupil to dilate the way it needs to and to let bursts of light in that’d be too much. The eye can’t quickly adjust to it when you’re blinking fast.
Erik: This allows too much light in. Blinking will help you see subtle energies, but it does depend on the quality of light as well.
Erik: Also, fluorescent lights tend to help—
Me: Tend to help what?
Jamie (giggling): Oh. Sorry! Did we just stop talking? Is that what happened?
Jamie and I chuckle.
Jamie: I was telling him, ‘Yeah I teach my classes, and I’m actually teaching a class today in seeing auras and energies and spirits.’
Me: So cool!
Jamie: And I tell the story about how I used to go to the meat department in the grocery stores, because the light was so bad in the meat department, it made it easier for me to see people’s auras.
Jamie: And so I would stand there and pretend to shop for meat even though I was a vegetarian and look at people’s energetic fields.
Erik: It’s the quality of light.
Jamie: I like the eye blinking thing. I don’t teach that.
Me: Yeah. Wouldn’t want you going around the meat market fluttering your eyes.
Jamie: I could just hear them. “Excuse me ma’am. Can I help you?”
We both belly laugh.
Jamie: ‘No, thank you.’
Erik: And training to look at subtle color, subtle vibration is getting yourself to—
Jamie (to Erik): I know, right?
She continues to translate.
Erik: Getting yourself calm.
Jamie: He just said two things I said in my class and I said, ‘Erik, are you saying that because it’s what I teach? Like, are you in my head or is that your way of …’
Erik: Well, you need to find some kind of technique where you can unfocus your eyes while still looking at something. You know, fuzz them out when you stare or like when you stare at a star in the sky and all the other stars disappear.
Me: Oh yeah. Okay.
Erik: That kind of staring technique—but you’re focused on one element and the rest just kind of fuzzes away. Do that on an inanimate object. Something that has color. You know, you can create a program that does this on the computer where it gives you a shape and you have to look at it, and while you’re staring at it, take your eyes kind of around the perimeter of the item or the shape a few times and then kind of come back to the center. Then you’ll start seeing a glow. Most people see a white glow, and some people will see color.
Me: You mean notice the perimeter with your brain rather than moving your eyes around it?
Erik: No, you can actually move your eyes around the perimeter but still keep them in that unfocused state. It’s exactly what you have to do with those Magic Eye pictures.
Me: See, those Magic Eye pictures never work on me, because one of my eyes doesn’t converge properly since I had amblyopia as a kid.
Erik: But it’s the same kind of technique, because once you get into the 3-D image you look around and you can see the 3-D image. You don’t have to stay focused right in the center. So if you just look—take your eyes and have them follow the whole perimeter of the item then come back to center, you’ll start seeing that glow. But then, here’s where you gotta teach yourself what the mirroring effect is.
Jamie (to Erik): Begins with a G? What are you talking about? Ganzer? Ga-ga, not gator. Go Gators!
She’s a Florida girl. Guess she felt compelled.
Jamie: I have such a tickle in my throat for the last 40 minutes.
(She clears her throat.)
Jamie (irritated): Can’t get it to stop!
(She clears her throat again.)
Me: Drink some water.
Jamie: I just tried that, and it just made it tickle more.
Erik: So, once you figure out if you’re not seeing the complementary color of the object you’re looking at—
Erik: If you’re looking at a red pen and you see a green glow, then you can just scientifically tell yourself, “Well, that’s the mirroring effect. My eyes are just playing a trick on me.” But if you’re looking at a green pen and you see a blue glow, then that shit ain’t the mirroring effect.
Erik: Whereas if you see a yellow glow, you have to say to yourself you’re picking up the subtle energy. And then try it on live creatures. Live creatures have a bigger energetic field, and you’ll see many layers of glow.
Erik: It just comes with practice. It’s teaching your eyes that they don’t have to look at the surface of something.
Me: Yes, but the seeing the deceased who are vibrating at such a high rate that they’re well outside the visual range on the electromagnetic spectrum—
(I also clear my throat.)
Jamie: You too?
Me: Yeah, you got me feeling your tickle. Thanks.
Erik: You can use this same technique to see the spirits. You just tell us, ”Sit down in that chair over there,” you know. “Stand against that wall right here, and I’m going to sit down and I’m gonna look atcha.”
Erik: But nobody does that shit because everyone is gonna think you’re crazy for doing it: crazy for practicing and crazy for believing that the spirits are going to listen to them and obey them and sit in a chair or stand against a wall. That’s total bullshit. We would have done it while we were alive; we’d definitely do it when we’re dead. Then, once they start seeing the silhouette or the splotches of color, they think they’re fucked up because they’re seeing it! So, you can’t win for doing and you can’t win for succeeding here. It’s cuz of the stupid brain.
Erik: Cuz of judgment.
Me: Analytical crap. Okay, so is it better in fluorescent light then?
Erik: Yeah, it’s easier because it helps the eye not be able to focus exactly clearly on the material item.
Me: All right. Is it better if the light level is lower, higher or what?
Erik: Nah, that’s going to be a personal preference.
Erik: For me, I like it when the lights are bright, like they’re really on. That gives more reflection off my vibrational body.
Me: Okay. Is it better to use a dark background, a light background?
Erik: White. Yeah, go to a white background.
Jamie: That makes sense, because then you’d be able to identify exactly what color it is.
Me: Yes exactly.
Erik: If you’re doing a dark background, then you just need to go completely dark. No lights. Dark background. That puts you in the setting of like a psychomanteum.
Me: Would it also help to flutter your eyelids fast during that exercise, too?
Erik: Yeah, yeah, yeah!
That would take a whole world of coordination and rhythmic skills I don’t and will never have.
Jamie: I’m going to try that in my class today. I’m going to have my students do that. See if it works.
Me: While we’ve been talking, my eyes and eyelids have been doing all sorts of crazy things. I’m so glad nobody’s looking through the window. They’d never be the same.
We all chuckle at the thought. Well, there’s my poor cat, though.
Me: God, we started with hummingbird wings.
Jamie: We’ve been all over the place, haven’t we?
Me: Yes, we have!