Defy Your Limits Page 4
As you read the training instructions below, notice what they advise as well as what they don’t recommend. Avoid adding outside instructions. With this method, your attention is directed to the object, nowhere else.
5. Level One [*]
The Level One instructions will be brief and simple compared to Level Two. This is because you will likely find success with Level One with relative ease, before you even have the opportunity to apply all the instructions given later on in the book. If you remain unsuccessful after many attempts at Level One, read the instructions for Level Two and apply them here.[**]
You will want to read through the Level One instructions completely before beginning your session to get an overall picture of the technique.
Set up your training area per the instructions in the chapter Training Supplies and Recommendations. Have a seat, with the object before you on the table. As you adjust your seating position, the air disturbance will move the object, so try to move slowly.
Arms and Hands
Begin by slowly positioning your arms widely, with your hands at the height of the object, hovering over the surface of the table. Your palms should be facing the object.
Eyes
Look at the surface of the object, and nothing else. Remember that energy follows attention. For this training, where your eyes go, your attention goes.
Do not focus them intensely like laser beams. Rather, use a gentle gaze and take in the entire object. Notice the creases, folds, color and other features, but do so passively, without any analysis or opinion forming. Look with a sense of ease. Have you ever been in the countryside, lying in a field, lazily looking up at the clouds? This is the kind of focus we’re looking for at Level One.
This is very different from the way we look at our digital devices. When we look at a screen, the eyes have a hungry, absorbing, speedy quality to them, which you can actually feel if you pay close enough attention. Likewise, the mind that receives the images from the eyes feels speedy, tense, and grasping.
Intention
There is preparatory exercise called The Wall in chapter 10. That exercise comes into play now that you’re trying to move this object. If you haven’t read it yet or watched the related video[*], you should do so now before going further.
With your eyes looking at the object, have the intention that the object will move. Do not be concerned about which direction it will turn, or how fast. Keep it simple, only that the object will move.
Some people might suggest, “Just talk to it in your head, say ‘Move!’ over and over again!” I disagree with this advice. Language formation requires the use of the thinking aspect of awareness. This excess conceptualizing robs energy, weakening your intention’s capacity to influence matter.
Instead, remember The Wall and the silent impulse you felt inside your mind during that exercise, the moment just before your body responded by moving.
Generate that same impulse now, and maintain it steadily. This is very subtle and difficult to describe with words, but if you practiced The Wall sufficiently, you will be able to relate to this guidance. You will be able to tell that the impulse is present and that you are keeping it steady, because there will be something that I can only describe as a non-physical pressure in your mind.
The word “sensation” isn’t quite right since it’s merely the feeling of mental exertion. It is not a type of physical strain. It’s similar to the exertion you feel when trying to remember someone’s name, or when you’re trying to guess who’s calling you when your phone rings and you don’t recognize the number.
Think of the mental intention as the propulsion of your will. You are willing the object to turn. The problem with the word “will” is that it might tempt people to strain, and soon their faces will be bright red, their breathing will be forced, and their veins will be popping out of the skin. That’s not our approach.
Look at the object and, from within your mind, tell it to move[*]. How does your mind feel when you do that? There is a subtle feeling that comes with the word “move.” Try it a few more times, and get acquainted with that feeling behind the word. When you eat a piece of chocolate, the word “chocolate” might arise in your consciousness, but that’s not the actual flavor. And just as you’re perfectly capable of tasting chocolate without repeating the word, you can intend the object to move without using the word “move.”
Don’t worry too much about perfecting this right now. It will come with time, and the other parts of the Level One instruction will help the object move while you learn more about your mind.
Approach
Slowly bring your hands toward the object. Don’t be concerned if it is still spinning or wobbling because of air movement. When your hands are close enough, the energetic connection will change the behavior of the object.
Ideally the air in the room will be still, as will be the object. When a connection is established, it will be obvious because it will react through movement. If the object is moving because of air disturbance, you will know you have established a connection because it will either 1) stop moving suddenly, 2) reverse the direction of its movement, 3) increase or decrease its speed, or 4) change the quality of its movement, becoming smoother and more constant – more intentional.
If your hands get close enough to touch the object, stop. Instead, keep applying your attention and intention while you reverse your arm movement. Slowly widen your arms, noticing any reaction from the object while the distance between it and the hands increases.
If there was no response when you pulled your arms wide, keep repeating the process of approaching and backing away until you see the reaction.
You can watch an example of this exercise, including footage of the moment when the connection is made at:
http://www.defyyourlimitsbook.com/beta.html
Testing distance
Once you see a reaction from the object, pause the movement of your hands. Keep your attention and intention (A&I)[*] on the object, and see how it behaves for a few moments. Does it continue to turn? Does it reverse direction? Does it freeze? If it freezes, do the ends of the object seem to be attracted to your palms, or have they settled in a more random direction?
There’s no need to come to any conclusions. We’re simply watching the behavior of the object and becoming familiar with it. An object moves differently depending on whether it’s caused by air movement or telekinesis, and we need to learn the difference.
Slowly widen your arms while keeping your A&I on task. Move your hands away until the object stops responding. Does the connection seem to break right away? Or does it continue for some distance before it breaks?
Pause your hands at the point of breaking the connection. Then slowly bring them closer again until the object responds anew. Hold them in that position and wait a few moments to watch the reaction again.
Repeat the process of backing the hands away until the connection is broken, and reconnecting as they draw closer again. Doing this will make you familiar with an object’s typical response to your influence.
Applying the “Mind-Stopping Breath” technique for extra help
If after several attempts you still haven’t established a connection, learn the Mind-Stopping Breath from chapter 13, and practice it several times.
How long should you try the above method (testing distance) before giving up and adding the breathing technique? I would recommend trying on a daily basis for one or two weeks. A day’s session should last at least half an hour.
Begin by breathing in the prescribed manner, without doing anything else. Just sit there and practice the breathing. When you have relaxed your mind and body for perhaps five minutes, look at the object and apply your A&I for several more minutes.
While continuing your breathing, and applying your A&I, add the use of your hands by spreading your arms wide and slowly drawing them closer to the object, testing the distance as you learned earlier.
The only thing that has changed about this instruction
is the addition of the Mind-Stopping Breath.
Move your hands closer then farther apart for several minutes while you repeat steady cycles of the breathing. Experiment with prolonging the held in-breath for longer than usual while applying you’re A&I. Look extra carefully during that moment and expect to see something happen. Do the same with the held out-breath.
As much as this is about following instructions, it is also about experimentation. How long do you need to hold your breath? What if you filled your lungs with a little more air than usual, what would that do? What if you extended your bodily experience of relaxation out toward the object, combining it with your A&I?
Experimenting this way will not only increase your knowledge and confidence but it will also add a component of fun and curiosity to the process.
Transitioning to motionless hands
Spend several sessions widening and narrowing your arms and hands, looking for the sweet spot where the connection is made. It’s possible that you won’t be sure if the movement is the air moving or a telekinetic effect. Or perhaps the object still won’t move in response to you.
If that is the case, change the instruction. Instead of “scanning” the distance with your arms, just place the hands a finger’s distance away from either side of the object, and leave them there. Don’t focus on your hands there, just drop them into that position, then ignore them. Apply your A&I to the object, relax your body and mind, and use the Mind-Stopping Breath. If you’ve already done the preparatory exercise called The Refrigerator from chapter 12, use it as well. Spend as many sessions as necessary doing this until you can influence the object.
This is as much about giving it time as it is about doing a technique. Just because it looks like nothing is happening doesn’t actually mean nothing is happening. Your subconscious and subtle energy system need the time to learn, to evolve, so that you can do something you’ve never done before.
Gaining familiarity and control
After the first time the object responds to you, continue practicing until you develop some control over the object.
Here are some indications of the type of influence we’re looking for:
You will know with confidence the maximum distance your hands can be from the object while maintaining a connection.
You will be able to tell the difference between when the object is moving due to the air in the room and when it’s moving because of you.
You will be able to affect the direction and speed of the movement. These manipulations will happen in response to your adjustment of your relaxation level and the intensity with which you apply the Mind-Stopping Breath.
You will be able to affect the object this way while your hands are held in one position, unmoving.
Please be cautious when reading the word “control,” though. In telekinesis, I like to call the object my terrible dance partner. It might go left when I want it to go right. It might respond to my direction late, several seconds after I gave it, not immediately.
This not about the object’s ability to follow your command, exactly, it’s about your ability to influence it. I leave it to the readers to determine if they’re a good person to share a dance floor with. This work is sometimes subtle, other times, sloppy. It’s more about expression and less about precision, like abstract art.
Influence establishes confidence and destroys doubt
Your inner non-believer and pseudo-skeptic may assert that the object is moving because of wind, static, or the heat of your hands. To counter those assertions, remember:
Your hands were moving slowly enough to not generate the amount of air flow necessary to produce the movement (we assume that you were in a room with as little ambient air movement as possible).
If static was present, it would actually prevent the kind of movement you observed.
You were able to change the speed and direction of the object by changing your level of relaxation and your breathing pattern. Those were actions initiated by your mental intention. How could heat from the surface of your skin influence the object that way? How could wind change its direction and speed independently to produce that reaction?
To learn how static affects an object’s motion, visit http://www.defyyourlimitsbook.com/beta.html
If you are unable to remove all doubt about those assertions within yourself, don’t worry. Level Two will do a lot to reduce them significantly.
When you are ready, continue on to Level Two.
You can watch an example of Level One control here: http://www.defyyourlimitsbook.com/beta.html
6. The Practitioner’s State of Mind
As you continue on to the higher levels of training, which are more difficult, it will be important for you to establish a supportive state of mind within yourself.
Many successful people work with a mentor or a personal coach. One of the main roles of a coach is to help the person set goals, and to identify the necessary actions to meet and exceed them. They also help the person be accountable for executing those actions. By setting some expectations here, you will have an idea of how to keep yourself accountable for your training.
Telekinesis requires regular practice. Like playing the piano, oil painting, speaking a foreign language, and like succeeding in your career. It takes time and effort. When I used the words “Easiest” and “Fastest” in the title of my most popular online telekinesis video, it was the best and the worst thing I could have done. It was the best because I know how people search for “How To” videos. I wanted them to find mine, and with these search terms, they did. I also sincerely believe that the video did offer the easiest way to accomplish Level One.
It was also the worst thing I could have done because it gave the impression that telekinesis is generally easy and can be accomplished rapidly. I could tell from the online comments that when viewers didn’t succeed right away, they thought something was wrong, and they quit too soon. I realized that it would only be those with passion, persistence, and motivation who would work on it long enough to succeed.
In light of that, the first expectation we should set from this point on is that this will take work.
The good news is that you will succeed at all four levels far quicker than I did because you have the method in this book. Still, it requires that you spend long periods of time in front of the object while it remains motionless. While you are sitting there, you’ll relax your body, use the breathing technique, and manage various aspects of your consciousness. When all the conditions are right, an effect will be produced, and the object will move.
A watched pot never boils. This usually means that things seem to take far longer when we pay too much attention to them. Here, we’ll take the opposite approach. You will sit and stare at that proverbial pot for a very time. You’ll look at that pot as long as it takes for you to feel like it’s a part of you, or that there’s no distance between you.
There is a single indicator that you’ve done the required work, it will move. And it will do so without any warning at all, at least in the beginning. Knowing this ahead of time should help prevent a lot of future frustration and impatience. Just because nothing seems to be happening doesn’t mean that nothing is happening.
My guess is that you already have a good degree of self-confidence and that you’re optimistic about the training. Your inner believer and inner skeptic should be walking side by side in your consciousness, supporting your efforts.
Another expectation is that you understand that this is a specific training system, with specific results. Until you have succeeded through Level Four, I suggest not making any alterations or additions to the training method in this book. Give it a fair chance before becoming too experimental and adding new twists to the process.
You might be tempted to combine these instructions with others you gained somewhere else, or maybe you’ve made up some of your own. If you do that, you must acknowledge to yourself that you are no longer following the training method, that you are doing something differe
nt.
As I wrote earlier, there are many other ways to do telekinesis, and it is inevitable that you will create or discover them. I’m only suggesting you follow these instructions until you’re successful, and then start exploring, using your new knowledge as a jumping off point.
There’s a reason many teachers tell their students to forget everything they know before learning something new. It’s usually what a student thinks they already know which confuses the instructions and ruins the process.
If you have never moved an object with your mind before, I now ask you to forget everything you think you know about telekinesis. The exception to this is for meditators. If you meditate regularly, no matter what technique you use, your familiarity with the various sensations, aspects, and movements of your mind will prove immensely helpful.