Before leaving the castle, the fake Viscountess needed to check something on the skull…
Was it a genuine one? She had almost trusted the so-called experts of the auction room, while she knew perfectly well that they only could see what they knew. And they didn’t know as much as her.

To her knowledge, there was only a handful of genuine old crystal skulls. But counterfeits were legions and a plague for such a skillful cat burglar as she was. Well, cat-burglar,… perhaps not as acrobatically as she used to… As a matter of fact, her life-long search for these skulls had suffered the competition of a little embonpoint… — the good thing being that those few sticky superfluous pounds had been perfect to impersonate the Viscountess.
In the past, she had come across a few of these fake skulls and most of them bore very similar indications leaving her to think stakes were high that they were coming from the same con-artist.

She methodically drew a little dagger from a scabbard at her belt. Going to one of the window, she drew one of the curtains a few inches to reveal the pale sun of Shropshire which was already fading.
Then, she turned the jeweled hilt in such a special manner that a soft clicking sound was heard, and a beam of light started to converge from the sun rays into the dagger. She directed the ray coming from the tip of the dagger’s blade into the bottom of the skull, and hold her breath in expectation.

Soon the skull started to glow a bluish light, and light poured out of the skull onto the walls in dancing symbols, while a soft buzzing sound was being heard around, started to drown her in a slightly dissociated state.
She cut the dagger’s beam very quickly, her heart pounding at the validation. It was a genuine skull. One of the six.

She had to hurry, she needed to proceed on her investigations to find the missing ones.

The trunk was there. She took another key that she had around her neck, leaving the first one on the cupboard’s lock for the Viscountess to be freed as soon as she would be out.
With the key, she proceeded to open the high-tech lock of the armored trunk which opened with a blow of air.

Her jumpsuit was here, along with the two turbo-reactor powered condor-wings that she strapped on her jumpsuit in very professional movements.

A few moments later, with her big dark sunglasses that gave her the appearance of an obese fly, Carla was flying high over the countryside of England, enjoying the soft gliding on the slightly damp air.

Georges and Salome’s journal

From Salome’s account of their first journey to the Alienor star system

The Jorid has spotted what will be the destination for our first joined adventure.
It’s a dimension which seems unexplored yet, and rather fascinating. Georges, as he is, would already have jumped right in, but I preferred to get a little more background information before moving into it. It’s still a little awkward to move into these realms where the laws of physics as we’ve known them are different, sometimes dramatically so. These would not be too much of a difficulty as the adaptation of the physical body usually goes quite fast, as Georges has shown me when we trained in more familiar dimensions, but the most delicate part is when we barely know the relationships at play.
Georges will laugh because he’s more confident that everything is perfect, but somehow, I tend to believe that things can be a little more perfect when we know how to avoid making faux-pas.
So we’ve spent a few days gathering some basic informations on this dimension we call Alienor. The most part of the activity seems to revolve around a cluster of planetoids. At this moment, it’s forming a system of three planets revolving on the same orbit around their sun. We call them Duane, Murtuane, and Phrëal.
They seem to form a complex web of relationships, and cover such a wide range of aspects that we have decided on a mutual agreement to split our exploration to cover more ground for a beginning.
Georges is exploring the Duane, and I took the Murtuane, both planetoids seeming to come from the same core of matter, in a manner of speaking. The feeling around the Phrëal is more ambivalent, as though it is undergoing some deep change, not unlike to the Shift that will be (or has been) occurring on our Earth. So, we’ve decided not to interfere with it right now. It may take a dozen of years (as we understand them) for them to undergo that process, but it’s not like we care of time issues in any case.

Here are my first observations concerning the Murtuane. Obviously, it ties into the Duane, but I am not completely aware of all of these ties yet.
The first connection I had to the Murtuane was with some ancient beings living here. I saw myself riding one of these sentient beings, gliding through the sky in a mountainous land. The colours are vivid, even if the atmosphere seems very light, and filtering the sun’s ray in a spectrum slightly more indigo than our sky on Earth. These beings, whose name I can’t yet translate accurately (it’s something close to Nirgual) are powerful winged focuses of essence, though I suspect this to be a mere convenient form that they use. They somewhat remind me of the Rokhs (or Rocs) that the sultan’s wifes were telling us about in their legends. Apparently, they are respected, perhaps feared by the people inhabiting the lands, though I can feel they are for the most part benevolent.
These people, those that I could spot, seem to have a slightly green skin, but overall humanoid form (within my translation of them).

I will probably have more to connections once we gather our impressions with Georges.

December 3 ^rd

^{( Hey, that’s 12.3, might be a hint for growth… Yurick)}

A communication about coordinate points, and how to travel between idea clusters

As the story starts to develop in a rapid and very intertwined manner, much like waves in the ocean, overlapping and rippling from and to many directions, Yurick became concerned that it may be difficult to keep track of, or rather to retain an ability to graciously navigate in it.

Let us imagine for a moment. Take your own life. It is composed of a multitude of moments. Your construct of linear time gives you the impression that there is a continuous succession or stream of moments.
In a manner of speaking, it is easier for you to grok the concept of multiple points of attention for your naturally associate them with your space. You can easily envision your many focuses happening all at once in a variety of places, towns or countries, and having a possibility to zoom in and out, so that to encompass more than your single current focus.
But what you do in engaging your conceptualization with your focuses would be equally valid were you to engage it in relation to that single focus that is you, in all of its moments of actualization.
But that would be far less familiar, as you identify quite strongly with that construct of time.

As that story unfolds, you discover that there are an infinity of points of attention dispersed in many many comments, and one comment can include many more than one point of attention itself. What you would be tempted to do, for it is something that is very automatic in your current associations, would be to attempt to draw lines between the points, to recreate a linearity, and thus facilitate your understanding of a certain action.

This is unnecessary and within your current movement of expansion of awareness would be counterproductive.

But you are familiar with that concept of coordinate points. For most of you, you once again associate them strongly with the space continuum, but they could be used in many many other situations. That story being one of them.
The coordinate points are in a manner of speaking, conglomerate of very coherent energy; they would not be “points” per se, but rather high concentration of these points of attention that your attempt to link together.
As such, they become the links that you are in search of, for in that drawing of energy points of similar expressions, they also become passageways between the associations that the points are linked to.
As a matter of fact, the “point” that you come to identify to the concentrated cluster of points would rather be a tone representative of that coherent energy that you can use to activate the links contained within that cluster of points.

That would be the reason why Yurick, in coming to understand that concept, has slightly adapted the original cloud of tags in the story, so that it can expand and be used to access the coordinate points that the tags are, quite simply.

— A marmoset then… Georges said Salome grinning widely.
— Yes. Did you get a name for him?
— Leo.
— That’s cute… With his little white mane around his face, Malvina will love him.

Leo had jumped on Salome’s shoulder, as it was a bit exhausting for the little creature to follow them.

— You know they are disappearing on this island of Tikfijikoo where I was just before. I think they found the invasion of their habitat by humans no longer funny. Lots of them have already popped into another reality for their kind… It takes some adjustment to refocus and reconfigure the energy, but it seems to go smoothly, as Leo being here is proof.
— Yes, as lots of old species on Earth ware doing. The relocation process is a bit energetically crowded, in a manner of speaking…
Georges was finding usage of words in that dimension a bit uneasy. That ware was such an example of how language needed rearrangement when they talked about simultaneous events in both past and present. At least, he knew Salome was understanding beyond the words.

Salome smiled and envisioned Georges and herself bathed into a field of fluid mulberry jelly colour, and around them some of the particles floating haphazardly around started to gather orbiting in rippling circles around them.
Salome was remembering an undulating shape too that she could use as a tuning fork, and she added it inside the central circle.

— Oh, you’re right…

« the translation device ! » they both said simultaneously, bursting into laughter.

— I always tend to forget about that funny toy Malvina once explained to me. And you know how much I love to play with it… when I remember it, of course…

Malvina had told Georges that the particles which were in his field were assisting him in translation, and had a grounding and focusing effect.

Leo started to applaud frantically at the new light quality of the energy.

Asaris — The blue men’s world — by Írtak

The race of the blue men was originating from a far off star system they called Asaris in a dimension quite different from the ones of Quintin and of Malvina.
Their connection with us is quite interesting in that they have managed to project aspects of themselves in other dimensions and give them shapes. One blue man, in a manner of speaking, may be the “result” of a common projection by several inhabitants of Asaris, merged aspects and common intent. They can be associated with pop-ins in a way, or with energy exchange, but the action is different.

While projecting, they are aware of their own focus in Asaris and of the other focuses they are projecting in other dimensions. Some of them can do that in many dimensions… I’ve not yet been able to really understand the process and how they can maintain the focuses… but that is filtered through my current understanding of the process. While different focuses of essences are “independent”, the projections of the blue men are quite connected to their originating point in Asaris.

Andrimiñ is one of them. One of the participating essence is connected to Blöhmul who also have focuses in the other dimensions. In him I feel also the essence Tomkin.

October 23 ^rd

“I may express to you that each of these chapters basically, so to speak, are not necessarily identified by one particular action, or that they are accomplishing one particular direction, in a manner of speaking. But that they all incorporate actions and movements that create a contribution to your awareness in this focus.

“They all lend, in a manner of speaking, energy through experiences to you within THIS focus that benefits your movement in allowing yourselves to widen your awareness and insert this shift in consciousness into your actual objective reality.

“As I have stated, this shift in consciousness, in a manner of speaking, is an enormous undertaking. It is a Source Event. And as you are aware, Source Events are so immense within consciousness that they may not be entirely inserted into your physical dimension. They are, in your terms physically speaking, larger than your dimension incorporates the capacity to express.

“Therefore, in recognizing this immensity of this movement and this creation within your reality, one focus, one time framework would be overwhelmed in attempting to create this type of movement singularly, and independent of other energy and other focuses that may be creating experiences that shall offer you as essence the type of opening within this physical experience that shall allow for this insertion of this shift into your actual objective reality.” [Elias, March 02, 2001]

Quintin couldn’t sleep.
Now he was thinking, he had delayed it for too long.
They all had been thinking of it, talking and glossing over it for so long. Some had dreamed of it, feared it, asked for it to bugger off. Lots of pains and struggles, but it had only been clever or not so clever ways to delay the unavoidable.

Now, he had an urge to insert it. How come he had not thought of it before. All he had to do was insert it in his reality.
Well, that would sure mean lots of changes, but after all, no pain no gain.
Or no abundance.

ABUNDANCE abun·dance [ ə-ˈbən-dəns ] “The ability to do what you need to do, when you need to do it”

That’s how Pasha, a Russian friend of Dory had defined abundance — speaking of Dory, now Quintin was seeing how she was ahead of the herd, and a bit of a coal (slow) mine canary too. Quintin would have changed all the world’s dictionaries to have that new definition everywhere. What a task…

Actually, that’s it! Quintin had feared the implications, as lots of people did.
It would mean everything would be allowed. Everything would be true, even the most blatant contradictions would be harmoniously living side by side. Struggle would be needless, and all that would be needed to do would be to stop paddling upstream.
What a mess it could be for salmons and control freaks as himself.

Perhaps worse, it would change everything, even “past” events where everything would also be allowed, now.
In-of-body travels (rather than the too classical “out-of-body”), meeting other selves appearing out of nowhere, talking with dead people, or sugarplum fairies, traveling instantaneously to meet Tchaikovsky and have him change his dying swan for a stuffed talking Mother Goose, flying, shape-shifting, manifesting objects out of thin air, the possibilities would be extraordinary… All in that physical reality where everyone was struggling to prove none of this was possible.
But if everything would be allowed, then be it! And he would go and live in 23, Dragon Alley, Phœnix Ville, Sunnyvalley with Yann (and the others of course, if they wanted to) and do whatever they wanted to do.

OK. That’s a deal then. Release the camouflages, open the watergates and leave the damn dams to beavers and loosers.

Let’s insert the Shift, now.

And let the fun continue, and worry wither away.

Well, and what’s that Shift all about?

Quintin’s friends Michaela and Elias had said about it :

“You are also bored in the experiences that you have created to this point. You have experienced. You have created in the manner that you have designed previously. Now you choose to be creating in an expanded experience, allowing more of your awareness, more of an opening to consciousness, more of your own creativity and your own abilities, and you are discovering that your abilities are within physical focus limitless. You have merely limited yourselves as an element of your beliefs, but as you are also moving into acceptance of your beliefs, you are widening your awareness and you are allowing yourselves to view how many more abilities you hold and how very creative you are, and not creating your limitations with such severity. Those elements in your reality that have been thought to be impossible are not impossible!” ¹

September 24 ^th

Quintin remembered a snapshot of the notes that Dory had taken during her first trip to the Madagascan caves, a year ago.

Relevant extracts:

At one moment, I saw some hooded figure in the sideways tunnels… He vanished on the left, couldn’t follow him…
[…] HE KNEW HIS WAY INSIDE !
When he vanished, I had the vision of something, […] like the layout of a labyrinth, of cave tunnels — that are all underground and the many entrances are all over the world… PORTALS
focus opening/doors ; time/space…
The central cavernous part is some kind of key center, where anyone can meet…

This has inspired Quintin to write some notes too.
He has the vision of these portals organized as clusters, like a tree, with branches and leaves… I will send him a more detailed image, but that may take him some time to digest!

September 26 ^th

The latest additions to the story have inspired Quintin. He had some inkling of how “essence” (or what is somewhat referred as “oversoul” ) and all the “focus” of essence (or lifetimes) interplay, and are not as separate as they sometimes seem to be.

Here would be what we will say to him, if he wants to listen:

« Now, terminology can become tricky as, for much time, you have been accustomed to be considering of your experience as the projection of that of an “essence”, somewhat separate from you, the lowly focus.
Of course, you pretend the contrary, and become quite nifty in brandishing sentences like “I am essence, and I create all of my reality”, which you are and do actually, but that you do not always believe and trust.
These terms of “essence” and “focus” were given to you as means for you to better understand the interplay of consciousness. In the beginning of the acquaintance with these new terminologies, you have felt them remotely blurry and unrelated to previous concepts, which was the intention. But now, you once again objectify your understanding in something too rigid at times, and that little story is giving you a hint of what your real power is.
And you begin to really experience it, and really pay attention.

« As was expressed many times, “essence” is no thing. It is an action.
The “essence” is each of you, that very portion of you that you feel when you slide your attention into the comment box.
In that, your purpose, you see, is only to experience, nothing more, nothing less.
And then time, as you know it, becomes irrelevant, you see. Your natural time is expressed through you and your explorations.
Notice how playfully, as essence (essence playing focus or focus playing essence), you let your natural time unfold, and at times find some strange weather pattern in your awareness that needs clarification. As essence, you playfully find the most perfect habits [shapes and clothings] to wrap around you, and continue your story.
Just as your dreams at night overlap and blend into each other.
Just as Rafaela created new focuses [Sam and Becky] to continue to play and make the story expand for all of the other focuses, Dory included.

« That “I” of you is ever present, and is reflected perfectly in others’ perceptions, as you are drawing them to you purposefully. Do not brush aside their adjuncts, for they are also you, having moved your pawns forward, so to speak, through their moves.

« Thus understand that the story is a continuous stream reflecting the essence that is you, and your travel through the various guises you borrow.
In that manner, it does not matter how much sense it makes in linear terms. Because, in a way, it can’t make sense in these linear terms.

« Let us explain this in other terms.
When you found difficulties in understanding the “scheme” so to speak, the figure that is drawn by the participants, it is because you apply the linear understanding of what such a scheme should be.
In that, you only perceive the “plot” as a succession of dots without a continuity, whereas the continuity is to be found in the other stories interwoven.
You are accustomed to stories where a single individual is enacting throughout the play, in a linear continuous fashion. The individual goes through many different actions, but is always the same in your perception.
Here, the tricky thing is to notice the continuity throughout the various habits [clothings] taken by the essence(s). It matters not that the essence takes that guise of say, a pirate sailing on high seas, just after having been an old crafty Lord in his windy castle. The underlying aspects of his exploration has been continuous and coherent: in this case, exploring and making sense of one’s exploration. It is just that a certain appearance has been perhaps more fitting to express certain aspects or qualities of essence, but the exploration has been one, throughout the entirety of the experience.

« We will let you ponder this, and we will continue our own story, writing about you… »

September 28 ^th

This sand symbol that Quintin has brought up seemed to have come from many directions at once. Each character has connected it, in various ways.
Armelle (Arona) to her magic, Rafaela (Becky) to her collecting customs, etc. etc.

Let us say that this symbol is not as innocent as it may seem. There are lots of associations with sand.
It is solid, yet fluid. In association with water, it can be used to build, and also to erode. It can shift into many forms, one of which is your glass, and your electronic components.
And most of all, it is, after your very oxygen, the most abundant constituent of your reality.
It is almost limitless in your understanding.
As is your magic.

This magical device we made Quintin see in a visualization is an analogy of your very action of creation as essences.
The sand which molds itself to make forms and shapes in three dimensions is in fact likened to your consciousness. Each grain of sand represents your links of consciousness that bind together to do your command.
The shapes are moved by your essences, in which you may see that the essence is no thing at all, but is a continuous stream of action, not separate from others’.

As Quintin said to Fiona, some individuals do differently when they create and shape their sands.
In analogy with the coloured sands, some people like Quintin enjoy using other people’s colours in shaping his own characters, while some others prefer to keep their own colours, to create a more definite sense of individuality. But they integrate the others’ movements and shapes nonetheless, regardless of how much they perceive it to be coming from them.

With that said, let us see how much more will appear from that sandbox…

September 30 ^th

The Wrick family tree as it is now (or “will be” drawn around the time of the twins in 2057).

The Secret Life of Margaret Wrick , a newspaper cut from 2033.

October 7 ^th

The dragon Naasir’s dream
A panorama illustrating the portals between the worlds created by each of the participants… But who is dreaming, really?

And an illustration of Chiara’s encounter with the glutton “dreggun” Buckberry…