SIDE
ONE
(Tia sets the night off as ring
mistress)
Tia:
okay, we're here live tonight and it is the 23rd of
October 1996. The time is............
Skip: 7 o'clock.
Tia: 8 o'clock.......
Skip: 8 o'clock.
Tia: and two
minutes.
John: yeah, yeah, you're looking at your clock
wrong.
Tia: but next week this will be 7 o'clock.
Skip: on Tuesday?
Tia: well, what I'm saying is that in actual fact it
will be 8 o'clock, but it would be 7 o'clock.
John: oh okay, we're going through the time change.
Tia: uh-huh.
John: yeah, yeah, yeah, yeah, I'm with you.
Tia: uh-huh.
Skip: is it next week?
John: it's this weekend.
Skip: I thought it was last weekend of October.
Tia: that is the last weekend of October.
John: this is coming up to the last weekend of
October. Where have you been Skip?
Skip: this year has flew by so fast.
Tia: don't tell me you still thought it was
September?
Skip: I'm still in August.
Tia: well, there you have it. That's new....that
looks nice.
John: oh yeah, you like that?
Tia: uh-huh.
John: yeah.
Tia: okay, let's get down to serious matters as we
only have a limited number of people here. Karra's
here, no Kiri and Omal and myself. So there's just
the three of us which is quite unusual.
Skip: yeah.
Tia: so we'll start with open questions. We'll call
this tape open mic night.
Skip: okay.
John: okay. All right, open mic night.
Tia: uh-huh.
Skip: I got a question for you darling.
Tia: uh-huh.
Skip: maybe you can answer me, maybe you can't. I've
got several avenues of opportunities that I can
pursue.
Tia: uh-huh.
Skip: and I'm kind of in a dilemma over which ones
to pursue.
Tia: okay. Well, let's hear them and I'll tell
you....
Skip: okay, a young man that used to be........well,
he still is a close associate of mine.......
Tia: uh-huh.
Skip: has offered for me to go to school with him
and get my certifications to become a building
inspector. It's a very generous offer......
Tia: uh-huh.
Skip: because he said he can get my certs for me in
very short order here which means that I can go
ahead and do this.
Tia: uh-huh.
Skip: to get out of the heavy labor I've been doing
all my my life.
Tia: yeah.
Skip: another associate of mine pursuing adventure
in purchasing and selling and renting property.
Tia: uh-huh.
Skip: that's the second avenue of endeavor. The
third one is stay on the job I'm on and find out if
they're going to hire me or not.
Tia: yeah, by that look of that last question, you
look very concerned and frustrated about that.
Skip: uh-huh.
Tia: the other two possibilities, I really can't
give you an answer saying you should do this, you
should do that....
Skip: no, no, no, no, I'm just wanting to more or
less get your personal opinion.
Tia: I was going to come to that, I was just doing
the preamble.
Skip: okay.
Tia: okay, have you thought about doing both
possible avenues?
Skip: well, yeah I guess so.
Tia: uh-huh. So that the way I see it is that you
have two opportunities here. Now what you have to do
is weigh both of them, right? And the possibility of
doing one or the other or possibly both. And by
pursuing those avenues, you have to sit down and
work out how they're going to benefit you and all
those parties involved. What is their potential
outcome? The possibilities of each outcome and then
the possible outcomes of those outcomes.
Skip: uh-huh.
To: so that you're not thinking.....let's say it
takes a week to get your property. You're not
thinking of one week, you're thinking of three or
four weeks ahead. What's going to happen after you
dealt with that? How is it going to affect them? Are
they going to come back to you if something goes
wrong or are they going to come back to you if
something goes good?
Skip: hmm?
Tia: you have to look at all those avenues. So you
have to weigh the odds and what would be the best
overall not only for you but for those parties
concerned.
Skip: uh-huh.
Tia: by doing that, you should be able to come to an
answer that would suit you and them better. And also
to add in to the mixture, is where do you want to be
in five years? Where do you want to be in 10 years?
You see where I'm going with that?
Skip: uh-huh.
Tia: and so it's not planning just for a couple
months down the road or six months or a year down
the road, you're doing a big picture. A little bit
like a five year plan or a ten year plan. Where you
want to be in ten years? Where do you want to be
going with the rest your life?
Skip: thank you darling.
Tia: no problem. John Paul?
John: yes, I wanted to ask about the internal
dialogue......
Tia: uh-huh.
John: and controlling that.
Tia: there's a simple technique that you can use to
control it is that the way that I teach astral
travel and I believe Mark teaches it the same way is
shutting down the internal dialogue is one of the
most important things to do before you learn how to
astral travel properly. And what you do is you
basically tell your internal dialogue to shut up.
Sort of like you hear it....
John: so I just tell it to shut up?
Tia: and then you listen, listen with all your body.
Focus on one noise. For example, your clock up
there, you can hear it ticking, correct?
John: correct.
Tia: okay, now for a second, right? Skip and myself
will be quiet......okay, now relax and just listen
to the clock. Okay, now in that proximate ten
seconds, right? There was no internal dialogue was
there?
John: no there wasn't.
Tia: uh-huh. So what you do is you focus on one
noise. A handy thing to have that ticks at a faster
or slower rate would be something like a
Metrodome....metronome. I had somebody
here.....yeah.
John: oh okay, you're talking about the device
that....
Skip: keeps music.
John: yeah.
Tia: uh-huh. So you have a tick toc, tick toc.
John: okay, now let me re-ask the question.
Tia: uh-huh.
John: okay, cutting off your internal dialogue....
Tia: uh-huh.
John: during meditation and when you're trying to go
to sleep.....
Tia: uh-huh.
John: is one thing, okay? But like with me......
Tia: uh-huh.
John: when I'm at work, okay?
Tia: uh-huh.
John: I'm not in a meditative state of mind.
Tia: yeah.
John: I've got to be totally focused.
Tia: uh-huh.
John: but I'll get some goofy rock 'n' roll
song.......
Tia: yeah.
John: in my mind.
Tia: okay, now the reason why that does dad is
because of the thinking process. Your mind is
constantly thinking. When you shut down the internal
dialogue, right? The thinking level has gone much,
much deeper down that you can no longer hear the
thinking level. For example, let's say we're doing
barbecued dog..........
(Ed. note: a common example she uses as her race
eats dogs)
John: okay?
Tia: right? And there's all these people all around
me, right? And they're talking and they're having a
fun time and I'm concerned with the spit speed, the
stuffing that I have in there, all the good stuff,
right?
John: yes, correct.
Tia: I'm thinking to myself, "if I slow down the
rotation rate now, it's going to crisp the skin
nicely." Right? This is going on in my head, I'm not
saying anything to anybody. I'm just concentrating
on cooking this dog, right?
John: yes, I understand.
Tia: so, the thinking process is very important. You
don't want to shut that down because if you shut it
down to a subconscious level, right? Where it's
buried deep, right? You're not actually
concentrating on what you're doing or analyzing the
moment you see? That's what the inner voice does.
The inner dialogue is the debate between right and
wrong, is this the right recipe, is that the right
recipe, should I go over there and clip the Cub's
ears because they're misbehaving? No, they're fine,
they're staying away, they've stopped misbehaving,
that's all the internal dialogue you see? When you
talk out loud, basically what you've done is taken
internal dialogue and put it external for added
input. Sometimes you'll be walking around and you'll
ask yourself out loud, "should I go to the dance
tonight or should I go and have an early night?" Or
the other question that you might ask yourself is,
you've just done something really stupid and you go,
"that's really stupid, I will never do that again".
And you'll say that out loud which is reinforcing
the thought process and affirming that you will not
make that mistake again.
John: okay, now, if I can......like the other night
I was cleaning my tools...
Tia: uh-huh.
John: I ran my hand across my French knife.....
Tia: uh-huh.
John: which is very foolish.
Tia: yeah.
John: and I didn't cut myself....
Tia: uh-huh.
John: because my fingers were firm....
Tia: yeah.
John: okay? It should have cut me......
Tia: uh-huh.
John: I didn't cut myself and it was very foolish.
Tia: yeah.
John: a stupid thing to do.
Tia: uh-huh.
John: okay? But I mean the internal dialogue...
Tia: yeah.
John: is essential.
Tia: yes, it is.
John: okay, I'm just wondering about shutting it
off.
Tia: uh-huh.
John: can I shut it off?
Tia: yes.
John: can I do that?
Tia: uh-huh.
John: completely?
Tia: yes you can.
John: can I just shut it down?
Tia: uh-huh. Basically what you do is you say to
yourself in your subconscious, "quiet". And as soon
as your mind starts to go, "okay, it's quiet in
here", you've already...
John: that's the internal dialogue.
Tia: that's right but you then again go, "quiet"and
you focus on the ticking of the clock but you don't
want to do this all the time. You want to do it when
you want to meditate or sleep, right?
John: right.
Tia: is when you shut down the internal dialogue.
John: right.
Tia: but it still continues on a deeper level that
you can no longer hear in your mind. You see, the
thing to do is when you're having the internal
dialogue, it's great if you're at work processing
information. For example, today I was processing
some information and I go, "really?" Of course I had
a roomful of people and I didn't go that out loud. I
went, "really" in my mind.
John: right, you went really in your mind.
Tia: yes, and it's a way of affirming the
information you see and storing it. Okay, Skip?
Skip: yes?
Tia: your question.
Skip: I've got a problem with me.
Tia: uh-huh.
Skip: and I think I've been spinning my wheels all
my life, or it feels like it.
Tia: it could be the fact that you've got to a point
where you feel that you should be at a totally
different point.
Skip: yeah, I should be independently wealthy.
Tia: uh-huh.
Skip: I had a good start on it many years ago.
Tia: yeah.
Skip: it kind of went by the wayside. I'd like to do
it again.
To: okay, how did you do it last time?
Skip: property.
Tia: uh-huh. Well that's the way you should try
again, you know that. That has worked in the past.
Oh, I see where you're going with that. You're
analyzing your earlier questions.
Skip: yeah, more or less.......
Tia: uh-huh.
Skip: more or less.
Tia: and looking at all the avenues.
Skip: uh-huh.
Tia: and if you go with the property, right? Let's
assume you decide to go with the property thing,
being an instructor of some kind so that you can go
there and look at the properties, right? Let's say
you buy a plot of 20 acres, right?
Skip: uh-huh.
Tia: and you tell the guy, "oh, by the way, I'm also
a property instructor".
Skip: uh-huh.
Tia: you just hand them that and it's sort of like,
"when you're ready to have your property's
foundations inspected, give me a call".
Skip: uh-huh.
Tia: see, you combine both of them.
Skip: oh, I see, okay.
Tia: uh-huh. But that's only a possibility, possible
avenue. But as for spinning your wheels........
Skip: well I feel like I am.
Tia: I don't think so. I think you've had some
wonderful life experiences.
Skip: oh I have, I guess.......I guess my biggest
problem is my mates, okay?
Tia: yeah.
Skip: I think that's been my biggest problem.
Tia: uh-huh.
Skip: I can't seem to get with a partner who stays
with me.
Tia: uh-huh. Well, in your society at its present
development, you name me one person that's in your
age group that has not had a divorce.
Skip: well, that's true. That's them, that's not me.
Tia: okay, let's say somebody that has gone from
rags to riches. I think that's the correct
expression. Let's take Donald Trump, right?
Skip: uh-huh, okay.
Tia: okay, now how many times has he been married?
Skip: I have no idea.
To: I think at least three times.
Skip: yeah, but I got him snowed.
Tia: yeah but what I'm saying is the fact that money
doesn't make you happy. It gives you a cushion,
right?
Skip: it makes you comfortable, that's it.
Tia: uh-huh. Yeah, it makes you comfortable but it's
not fulfilling.
Skip: no and that's not what I mean. I'll make
money, I ain't worried about that.......
Tia: yeah.
Skip: I'll always make money in life.
Tia: what sort of press do you use?
Skip: huh?
Tia: what sort of press do you use?
Skip: what sort of what do I use?
Tia: press.
John: press, to make money.
Skip: oh no, no, no, no, not that kind. I'm sorry, I
completely missed that one.
Tia: as Russ might say, "Kachew".
Skip: yeah right, it really did.
Tia: uh-huh.
Skip: no, I've made good money.
Tia: yeah, so you've had that comfortable cushion. I
think you're looking for more of a spiritual
fulfillment, correct?
Skip: well, I think a partner.
Tia: uh-huh, well a spiritual partner that can be
one and the same.
Skip: okay.
Tia: uh-huh. Somebody to curl up next to on cold
nights.
Skip: yeah, Somebody or talk to.
Tia: yeah. That's why you like Lyka isn't it?
Skip: yeah, two-way street.
Tia: yeah, she's full of energy and bouncy and
mischievousness and very smart.
Skip: yeah, but she's too young.
Tia: yeah, way too young. And she's also probably
could flip you over her shoulder without thinking
about it. Yeah, she's one tough cookie.
Skip: I don't mind tough cookies, as long as they're
straightforward.
Tia: oh she's very straightforward and to the point.
Skip: I respect that.
Tia: okay, now back to Johnny.
Skip: I'm not gonna stay too long.
Tia: okay, well we're only going to do half a tape
anyway I think.
Skip: yeah, okay.
Tia: in actual fact, we could actually put the next
person on. Otherwise, I could sit and hog it all
night. See you guys in a few.
Skip: okay.
John: okay, thank you.
(Omal
replaces Tia as speaker)
Omal: greetings and felicitations friends. Skip,
Johnny, greetings.
Skip: good evening Omal.
Omal: and how is everybody functioning?
John: I'm functioning quite well Omal, thank you.
Omal: thank you.
Skip: within parameters.
Omal: specified parameters?
Skip: yeah, I guess so.
Omal: okay, let us proceed by answering your
questions that of many you have.
Skip: oh.
John: you want me to start Skip?
Skip: go ahead John.
Omal: I was about to say, we can use the proverbial
coin if Russ was around.
Skip: yeah.
Omal: have him manifest one, it is quite simple.
John: okay, like I discussed with Tia....
Omal: uh-huh.
John: which you obviously overheard or monitored,
whatever you do......
Omal: yes.
John: okay? I'm curious about the internal
dialogue....
Omal: uh-huh.
John: and shutting it down at the right time and
also being able to shut it down while I'm still in
the working mode.
Omal: you don't want to do that when you're in the
working mode.
John: okay, thank you.
Omal: somebody such as myself on the seventh
dimension, we still have the internal dialogue. It
is part of the thought process as Tia stated. It is
also a handy way of relaying information on higher
levels in a telepathic mode. For example, I'm
thinking to myself, "I need to get one of my
technicians to switch off a device". And as I think
of the device, the technician wanders over, has
already heard my thoughts because I am thinking on a
random level and he goes off and switches off the
device. Or I think to myself, "it is time that I had
a bite to eat but I'm too busy to leave my desk.
Should I get one of my technicians to get me some
protein". The technician looks at me and asked what
I would like for lunch. So the internal dialogue not
only serves as a way of analyzing and extrapolating
information, but also works as a communication tool.
The puzzled look on somebody's face that they're
thinking triggers you to ask them, "what is the
matter or what are you thinking about?" The
individual that looks unwell and has a furrow on
their brow because they have a headache, you ask
them, "what is wrong?" And they will explain. So it
is not only used as an analyzing process and
extrapolating information, it is also used as a
communication tool. When you meditate, that is when
you shut down the internal dialogue. This gives you
the opportunity to free up your mind. Your mind is
free, there is no process of analyzing information
going on a conscious level so therefore you will see
random, sensory input, images. Now by controlling
those images, by not thinking about controlling
them, enjoying the slideshow as it were of random
objects flash before your vision, in your mind, you
can have quite an interesting moment. By remembering
those images and writing them down, you may be able
to see some sense in what is going on on a deeper
level of your mind. Now, having learned how to
control those images, the next step is to control
your body so that you can astral travel or review
your past lives. But at this time it is not
advisable to view past lives due to the fact that
you first of all have to learn how to control the
random pictures. And controlling them can be quite
tricky. And it takes time and practice to control
them. What you need to do is to focus as if you were
looking at one object and follow it and bring it in
close without thinking bringing it in close. That is
where you may run into some problems with the
internal dialogue. You see a picture and you wish to
bring it in close and you think to yourself, "I have
to bring it in close". Your internal dialogue has
started up so you relax and tell your internal
dialogue to shut down so that you can then view the
image. It takes time and practice to be able to just
will the image in closer without thinking, "come
closer" or "I need a closer look". It takes time and
practice. Sometimes your mind will pick up on the
fact that you wish to view something closer and will
do it without needing the internal dialogue.
Bringing the picture in close can be a very useful
tool. You have learned how to control the imagery
process with your mind. Controlling that is the next
step to astral travel and reviewing past lives. By
thinking beforehand that you wish to view past
lives, you will have select randomly past lives.
Images of all sorts of interesting things. From
engine designs and specs to filleting fish that you
have never seen before that are no longer available
in your supermarkets. Or equipment that is ancient
and obsolete that you have only seen in pictures and
in museums. So by controlling your inner voice, the
internal dialogue, you learn other useful tools. The
ability to view your past lives and astral travel.
By viewing your past lives, you can learn how to
expand your abilities. For example, Skip is a
manifestor as you are Johnny....
John: yes?
Omal: and by viewing manifesting past lives, you
learn how to increase and focus your manifesting
ability.
Do we have any questions at this point?
John: you covered a lot of ground. I thank you for
your answer and turn my time over to Skip here.
Omal: okay.
Skip: Omal, is possible to consciously review past
lives without a dream to be?
Omal: by the method that I have just described by
shutting down the internal dialogue.....
Skip: uh-huh.
Omal: and letting the pictures come randomly.
Skip: uh-huh.
Omal: at first this is just random pictures but
later, by being able to control the random pictures,
you can program yourself to review past lives. You
may not have the full effect that you would have in
a regression and being trained as a regression
specialist, those individuals are trained to regress
other people. Russ will tell you, the hardest person
to regress is himself. By doing this, it is a useful
tool, self-regression that takes time and patience.
Skip: thank you.
Omal: next question?
Skip: I can't think of anything after.
Omal: okay.
Skip: I appreciate your coming.
Omal: no problem. Live long, prosper, and I'll be
back.
John: thank you very much sir.
Omal: you're welcome.
(Tia spends some time with us
before switching speakers)
Tia: incy weency spider went climbing up the spout,
down came the rain and washed poor incy out.
Out came the sun and dried poor incy out. Incy weency spider
is climbing back up the spout.
Skip: you're in a good mood tonight.
Tia: oh I am, yes. It's just going to be myself, the
Cubs and Mark.
John: so you're going to make Mark proud that he's
happy.
Tia: no, I've got other things in mind. Okay, let me
be sensible and serious.
Skip: okay.
John: okay. Let's talk about Sirius. Kiri has gone
to Sirius?
Tia: uh-huh.
John: and mama's gone.
Tia: no, that's mother superior. The head abbess of
Kiri's grandmother's monastery.
John: okay. Now do they have someone lined up to
replace her?
Tia: well there's three possible people and one of
them happens to be Kiri's....
John: Kiri's mom.
Tia: grandmother.
John: grandma, oh okay, okay, okay, excuse me.
Tia: yeah, Kiri's mother is being reborn. She passed
away a long time ago, probably about I should say
close to thirty, forty years ago.
John: okay.
Tia: yeah.
John: let's talk about that.
Tia: uh-huh.
John: let's talk about past lives and past life
regressions.
Tia: I don't know that much. I've been regressed
quite a few times and Russ actually did one on me
through Mark's body but we won't go into that.
John: okay that's a personal thing between you guys.
Tia: yes.
John: and I won't go into that but what about past
lives?
Tia: okay, past lives are very, very important. They
are something that affects what is going on to you,
to Skip and myself at present. For example, let us
say that you were a woman in a past life, right?
John: yes, I was.
Tia: and you have a friend, right? That abused you
in whatever way.
John: okay.
Tia: right? What you have to learn is let's say in
this life you have an acquaintance that you have
used rottenfully. That you have done nasty things
to, been mean to, been horrible to yet they keep
staying in your life. And the question is, why is
that person in your life? It is possible that that
person was the person that abused you. Let us take
an example as he is not here to defend himself,
right? We'll use Russ as an example. Russ was once a
priest in a, I think it was Mayan society or it
could have been Aztec, and he did human sacrifices
which was the norm of the time. Nothing wrong with
those, they were perfectly acceptable at the time.
And there was a young lady that was an acquaintance
and she ended up being the perfect sacrifice, being
a willing sacrifice. And Russ had to wrestle with
that and when he became aware of it in this life,
that he had been a priest and that he had sacrificed
numerous people and he had a hard time adjusting to
it. Along comes a young lady into his life that had
been the perfect sacrifice, the willing sacrifice
and he had to learn how to deal with that and have a
relationship with her so that he could progress on
to the next level. And the fact that she did some
very nasty things towards the end of their
relationship means that she hasn't learned and there
will be a karmic outcome later on. But by behaving
in the way that she did, she taught Russ some very
valuable lessons. And the thing is that instead of
going off the handle and ripping into her and so on
and being mean and nasty to her, he said, "okay,
fair enough, off you go, you're free". He didn't try
to woo her back, he didn't try to do anything like
that which is what she wanted, you see? So therefore
the karmic circle is now broken. He was not
manipulated by her and she was not manipulated by
him. They had a clean break and they seem to of
maintained a good friendship.
John: so that broke the karmic circle.
Tia: uh-huh.
John: so we are able to break the karmic circle....
Tia: that is correct.
John: in our lifetime?
Tia: yes. Okay.....
John: what, you got a date? You're looking at your
watch.
Tia: well I'm looking at Mark's watch because I
can't see the chronometer up here because somebody's
got their big head in the way.......and thank you.
Okay, we have ten minutes approximately before the
end of the session. I will put on the last
speaker....
John: okay.
Tia: if she will come over and sit down. Just
because her little sister is not around. I don't
know if she's going to stay very long.
John: okay.
Tia: she has her little ones with her which I don't
like bringing to channeling sessions, it's naughty.
John: okay.
(Karra
gets us to the end of the side)
Karra: hello.
John: hi Karra, how's things?
Karra: it is functioning fine.
Skip: how's the kids?
Karra: the kids are well behaved. They are sitting
patiently, I do not have a babysitter at this time.
Skip: circumstances alter situations darling.
Karra: yes, unfortunately they do. But, it is a
learning lesson for Tia to learn patience with
little ones racing around.
John: it's good for her isn't it?
Karra: yes it is. Okay, well, fortunately my love is
not here so we can debate for a while, pure
conversation on the merits of healing and dealing
with healing matters.
John: okay, now with myself being a healer and a
manifestor, I want to still touch on the subject.
Karra: okay.
John: okay, about internal dialogue.
Karra: ahh, okay, I understand. Now we can proceed
on an avenue of how does the internal dialogue help
with being a healer. Now this will involve both of
you. Okay, the necessary importance of the internal
dialogue in healing is very important. You have to
remember how to heal, how to pull the energy out, is
it the arm that hurts? If I press here, will this be
okay? If I touch there, well I be able to pull the
energy out? So the internal dialogue when healing is
very, very important. It is also thinking on, "okay,
this person is going to be better". By thinking this
in the internal dialogue, you transmit it to the
person that you're trying to heal. Because you have
hands-on, and they are inside of your shields, you
are flowing their energy. In return, you are giving
them the feeling of positiveness, of being able to
heal themselves. What you're actually doing is
transmitting the thought to them. That's why it is
useful in a meta-concert healing to have a coercer
because instead of having a large number of minds
all thinking positive thoughts, you have one person
that opens up the individual that is being healed to
the incoming thoughts of positive healing. The
positive healing is the key to healing. Okay.....
John: can you expand on that more please?
Karra: oh, certainly, certainly I can expand. It is
very seldom that I am asked to expand on an open
ended answer.
John: please.
Karra: okay, the healing process that occurs when
you are using the internal dialogue is, "you are
healing, you are healing, I will make this person
better". Your positive thoughts flow through your
hands to the affected area but, as your thinking
those thoughts, because the person is inside your
shields they are being transmitted to that person
who is receiving them. By that person receiving
those thoughts, then they hear it on a subconscious
level and their body works in the healing process
with them. You are using their own body to fight
their ailment. You are supplying the energy which
may be lacking because of fighting the infection or
the damage or the headache or whatever it is beating
them but the energy that you're pumping in is being
directed by their mind which is being directed by
your thoughts. Basically what you're doing is
manipulating them to being accepting of healing. Now
if you have a coercer handy as I stated just now,
that coercer can speed up the process by opening up
the person's mind to healing. Manipulating so that
they are very receptive to the incoming information
that will help them with the healing process. The
healing process is speeded up with the aid of the
coercer. But coercer on his own or her own cannot do
the healing. But the healer on her own or his own
can do both jobs. Not as effectively as a coercer
but it can be done. By combining the coercer and the
healer into a group mind, or a very small, primitive
meta-concert, you speed up the healing process
because the healer is no longer doing two jobs. The
healer is concentrating on the matter at hand. The
coercer is totally free to concentrate on opening up
the individual so that the individual can receive
the information and the energy without putting up
natural barriers. A similar bit to having a scrub
nurse and a surgeon. The surgeon is capable of doing
surgery on his own but it is very difficult. With
the aid of the scrub nurse using clamps and sutures
to open up the area, makes it easier for the surgeon
to do her job. But a healer on her own or his own is
quite capable of doing the job but it is more work
for the healer. With a coercer, which sometimes you
may not have access to a coercer, it makes things
easier. You see?
John: yeah, that clarifies things. Let me ask you
about the shielding.
Karra: uh-huh.
John: now one, Skip or myself is doing a healing on
someone, our self-shielding surrounds the person
that we're healing, am I correct?
Karra: correct. Basically what you're doing is you
have a multilayered shield is that you're putting
them inside your shields so that it is easier
for you to manipulate the healing. When somebody is
sick, their shields are weak and easy to cut
through. It is like using a scalpel to open up the
flesh. You do the same when you open up somebody's
shield to heal.
John: uh-huh.
Skip: how do I perfect self-healing?
Karra: by the same way that you heal others. As is
commonly quoted, "a healer, heal thyself". You know
your body well, you look at the areas that are
damaged and you concentrate on those areas as if you
were healing somebody else. However, your energy has
to be brought in from outside as a healer so you
suck in energy from outside to be healed. Let us say
you have a damaged rib, okay? Let's say Mark's body
is the damaged body that it is my body and I bruise
my ribs. I fire up my hands and I place them over
the damaged area so that the energy is flowing into
the damaged area. But, because of the damage, my
energy is tainted with the pain so I have to bring
energy in from outside. I bring it into my crown
chakra and I pull it on through to the affected
area. My hands pull out the energy. It flows up my
arms, this is where it gets tricky. it goes down and
out through the root chakra. It must not touch the
incoming energy because if it does, the energy that
is incoming becomes tainted with the pain and
suffering. So it has to come in through the crown
chakra down to the damaged area, right? It comes
back out and it goes.....well it could go up, down
the side and then join the chakras and all the way
down through that way but if you loop but over it
works just the same but it must not touch.
Skip: okay.
Karra: you must visualize that energy coming in and
looping and not touching. If you happen to penetrate
totally the healing loop, then you disconnect, you
take your hands away, you wash them, you relax and
you try again. If it touches, you have to work
harder to make sure it doesn't touch again and it
will take longer to heal the area.
Skip: thank you.
Karra: no problem.
John: let me ask you about third dimensional
healers....
Karra: uh-huh.
John: healing each other and working on each other.
Karra: yes, that is commonly what happens up here. A
healer, let us say my ribs again.....
John: okay.
Karra: I bruised my rib. It is much easier for me to
go to another healer to get that healer to heal me.
Skip: rather than trying to do it yourself.
Karra: correct.
Skip: okay.
John: so on this dimension and our space and time,
with Skip and I both being healers.....
Karra: yes.
John: we could assist each other in the healing
process?
Karra: that is correct.
Skip: uh-huh.
Karra: uh-huh.
Skip: I got the same thing........can I intercede
here a little bit?
Karra: certainly.
Skip: I have the same thing with my daughter.
Karra: uh-huh.
Skip: but with my daughter and myself being of the
same ascent....
Karra: uh-huh.
Skip: I have to change the color of my healing
power, I can't use a white light on her.
Karra: that's correct.
Skip: it will make her sick if I do.
Karra: yeah, why? Why do you make her feel unwell?
Skip: well because our genders match from what I
understand.
Karra: uh-huh.
Skip: is this correct?
Karra: yes. In a healing, a male healing a female,
there is a lot of......especially if they're of the
same bloodline, a lot of blood, and that will cause
an overload you see. So you have to change the
pattern a little bit.
Skip: so I have to change the color.
Karra: yeah, it is like trying to pack in a lot of
milk into a container. It explodes and it is the
same thing. The explosion happens inside the
person's stomach and up comes all that they have
ate.
Skip: but if I change the color.....
Karra: uh-huh.
Skip: in other words, if I'm......
John: let me interrupt you....
Skip: go ahead John.
John: real quick here Skip. Okay, now I'm
understanding that it's a green, a green light as
opposed to a white light. Excuse me again.
Skip: that's only in meta-concert.
Karra: yeah.
Skip: now listen to me....
John: uh-huh.
Skip: in meta-concert as I understand it, as I've
been educated by channeling, okay? By this lady
right here, all of us use the same color........
Karra: yes.
Skip: which normally you wouldn't be concerned with
color.
Karra: that is correct.
Skip: okay? When I go to heal someone........
SIDE
ONE ENDS
|
SIDE TWO
(Karra returns to the subject
at hand)
Skip: okay, a white light is your natural healing
ability.
Karra: uh-huh.
Skip: okay. You do it, I do it but you don't even
think about it because that is the most powerful
part of healing is the brightest light which is
white.
Karra: well it is an instinctual thing as well.
Skip: I'm sorry?
Karra: it is instinctual as well.
Skip: yeah, so it's an instinct, okay?
John: yeah.
Skip: alright now, when I go to try and heal my
daughter, I have to concentrate on a color.
Karra: uh-huh.
Skip: because if I use my natural instinct, she's
my bloodline, all I do is upset her.
John: okay.
Skip: okay?
John: okay.
Skip: and I actually make her worse than she was
before I tried.
Karra: uh-huh. Now by focusing on the healing
color which is green, green is a healing color. It
is a nice, soothing color. That is why it is
always associated with healing. Now meta-concert
will use shades of green which means that
everybody is focusing on the same color. There is
no chance that Skip is a white light, you give a
blue light, Russ gives off a red light, everybody
is focusing on the same color. Green in a
meta-concert works better in a healing than white
light. This is because white light is like a
universal tool. You use white light as a tool that
can be used in anything. For example, for a healer
to manifest, you would use a white light. If you
were to heal, it is an actual beam of white light.
If you were to move an object, why not white
light? But by everybody in a meta-concert using
one color because some people may not think of
using white light, you'd be surprised. By thinking
of one color and sending the energy in that color
means that the person down the line doesn't have
to change it to their color. It passes on from the
secondary to the primary as green light. The
primary passes it on to the conductor as green
light. The conductor passes it on as green light
to the executive. Instead of going primary red,
sorry, secondary red, primary white, conductor
green, executive blue. It's all green which means
that it is much more effective....
John: okay now, let me ask you about different
shades......
Karra: different shades again present the same
problem that one person will change it to their
color.
John: okay, now Skip and I are working together on
a project.....
Karra: uh-huh.
John: okay? And we're doing a healing
meta-concert, okay?
Karra: uh-huh.
John: and I perceive the green as a light green
and he perceives the green as being a dark
green...
Karra: well if you hadn't of interrupted me, I was
about to get to that.
John: oh I'm sorry, I apologize....
Karra: okay.
John: I apologize very much.
Karra: that's quite all right. But the point that
you brought up is quite valid and I was about to
explain it. What you do beforehand is let us say
you want to project green light for healing and
you're part of the meta-concert. Let's say there
is five people in the meta-concert, let us say
everybody decides a dark green but how dark? Dark
dark, light dark or very a pale dark? Hmmm, the
same problem occurs as in the different colors,
just not as heavily empathized. Now, if you have a
powerful meta-concert with all healers that are
very powerful this does not matter. But, with a
group of individuals of varying abilities that
some are not healers, some may be coercers, some
of them may be manifestors. You then have to
decide what exactly what color it's going to be.
And how this is achieved is getting a piece of
paper, getting a selection of green crayons and
selecting which color you want. Then you draw the
line and say, "this is the color that the light
will be". Plain and simple. "Anybody deviates from
this, I will hang them upside down by their toes
over pit of crocodiles". You see?
John: so we should focus when we're doing a
healing meta-concert, we should focus on the same
shade of green. Is that what you're saying?
Karra: yes, yes that would be ideal.
John: okay.
Karra: but at the moment, because you're just
learning meta-concert, the shade of green does not
matter as much as the intent and learning the
mechanics. The feline with the neck injury is a
prime example of the color didn't matter or the
shade or the color. The feline's healing process
was speeded up exponentially. It would have been
sped up even quicker if it had all been in the
same color but that is irrelevant due to the fact
that A, the feline was healed and B, the
meta-concert was a success and C, you learned the
mechanics of the meta-concert. You now know how to
do a healing meta-concert. You can practice until
it becomes second nature and then you can proceed
to the next step of getting the colors right.
Okay, thank you, I've been told to hop out as Tia
is saying that my children are trying to dismantle
something over there.
Skip: thank you darling, I appreciate it.
John: thank you very much, it was very
informative. I appreciate it. Take good care of
your kids.
(Tia signs off this channeling session before
signing on again)
(Tia says hi in Durondedunn)
John: hi Tia.
Tia: hi.
John: you're back.
Tia: the channeling session's almost over, okay?
Skip: okay.
Tia: okay guys, you have a good evening, thank you
for coming. Sorry it's only a short one. I didn't
realize how much of a role Kiri does play in
spreading information and speeding the process
along.
John: oh yeah, she does, she does a very good
role.
Skip: she's a neat lady.
Tia: yes she is.
John: yeah, yes she is, she's fascinating.
Tia: yeah. She's actually still on the base but
she's heading down with Sarah to the spaceport to
get ready for the trip. She's got Sarah sedated.
Skip: give her my love.
John: well it's understandable that she couldn't
participate tonight.
Tia: well Sarah........
John: we miss her.
Tia: uh-huh. Sarah apparently had a pretty nasty
nightmare. She took a nap earlier on, screamed, it
made me jump, right? Because it was transmitted.
The first time she has transmitted a thought. Made
Kiri jump and scared the poor hell out of Mark
because it was on our frequency.
Skip: oh boy.
Tia: uh-huh.
John: how old is she?
Tia: she's about 25. It's hard to say with all
that's been done to her.
Skip: oh boy.
John: yeah.
Tia: anyway, I'll see you guys next week.
Skip: okay, Tuesday or Wednesday darling?
Tia: Tuesday.
Skip: okay good.
(Tia says goodbye in Durondedunn)
Skip: good night.
John: good night. Thank you so much.
Tia: no problem at all.
John: I appreciate this.
====================================
(Tia now leads us into a
different channeling session)
Tia: well where do I start? Let's start by
answering questions.
Russ: alrighty. We're looking at now at the
possibilities of travel and tourism within the
boundaries of space surrounding our planet.
Tia: uh-huh.
Russ: and I'm wondering if that's such a smart
idea at this time. Spending all the money on space
stations and space projects when there's so much
problems on at home.
Tia: yes and no, yes and no. You see, in space
there are certain things that you can do that you
can't do on your planet.
Russ: uh-huh.
Tia: yes it is important to heal the planet, it's
also just as important to research things and
facts. Now from space you can observe more about
your planet than you can from your planet. It's
like you hiking up to a hill, to the highest
mountain in your little area there, and watching
what's going on in San Francisco or even
Sacramento. Now if you go up in an aircraft high
enough, you can see more.
Russ: hmm.
Tia: so it's kind of a Catch-22 actually in my
opinion.
Russ: well we have satellites to do all that, I'm
wondering what the economic benefits are of
actually building a space station and putting
people up in space that we aren't already
accomplishing with satellites.
Tia: well there's lots of things. You can see much
more of the planet certainly with satellites that
can be taken care of but I'm talking about growing
things. Things that you cannot grow or make on
your planet.
Russ: for example.
Tia: perfect ball bearings, crystals, certain
medical drugs. The purity is much, much higher in
space than on your planet.
Russ: hmm. Well being as we don't have much choice
in where the money would go if it wasn't going to
space is all that matters.
Tia: uh-huh.
Russ: for example, things like fusion power......
Tia: uh-huh.
Russ: we're looking at thirty to sixty years away
for its being available for public consumption.
Tia: uh-huh.
Russ: would the use of the money for that possibly
speed up an alternate fuel such as that?
Tia: well that's a possibility but it really is a
Catch-22. You see, once you're in space on a
regular basis and you have people up there for
long times, the fusion process will speed up
because of the drive that is needed for a better
and more efficient power for up there.
Russ: all right.
Tia: you see, it's kind of like.......history
really isn't my field but I'm going to make some
generalizations. It's kind of like warfare and
aircraft.
Russ: uh-huh.
Tia: now from what I've heard, the aircraft in
1914 were very flimsy and very fragile, right?
Russ: right.
Tia: and by 1918, they were fairly tough and
robust and reliable.
Russ: uh-huh.
Tia: and then 20 years elapses where there is some
progress made but not wonderful progress and all
of a sudden you have in the space of five years
you go from piston aircraft to jet aircraft.
Russ: hmm.
Tia: you see what I'm saying?
Russ: so you're saying it would take a war for us
to really get a good space....
Tia: no, no, I'm using warfare as an analogy.
Russ: right, but I know what you mean.
Tia: uh-huh.
Russ: well one of the things they want to do with
space travel is the use the moon as a resource for
fuel.
Tia: uh-huh.
Russ: hydrogen three from the lunar surface.......
Tia: yes.
Russ: apparently is quite readily available there.
Tia: uh-huh, especially around the poles.
Russ: uh-huh. They could mine it and use it to
explore further and do more.
Tia: uh-huh.
Russ: now, with that it's an enormous burden but
at the same time, I agree that it offers a lot of
opportunities for us.
Tia: uh-huh.
Russ: with the scenarios that are approaching now,
would it affect their outcome or not?
Tia: yes unfortunately.
Russ: in negative ways.
Tia: A, nothing changes and things progress. B,
they cut back, they don't do as much, but they
still continue. C, they stop totally. You don't
want C to happen at all if you're into space
exploration.
Russ: okay.
Tia: B in the long run is actually a positive
thing because cutting back and economizing, makes
them experiment with alternatives.
Russ: hmm.
Tia: A is of course ideal for the short run and
possibly the long run but the factors are too
convoluted and too unreliable.
Russ: okay. Now we stopped going to the moon quite
a few years ago.
Tia: uh-huh.
Russ: many people believe it's just the official
version is that we did so because there's nothing
more to be gained from the surface.
Tia: which is bunk.
Russ: which is bunk.
Tia: uh-huh.
Russ: so, is it some weird reason I don't know
about that they stopped they just stopped going to
the moon?
Tia: no, not really, most of it was fiscal. At the
time there was nothing more that they could learn.
It is very, very expensive. With the shuttle, it's
actually now cheaper.
Russ: oh, okay.
Tia: uh-huh. Especially if you build a space
station as a way station.
Russ: uh-huh.
Tia: you see, in the entertainment "2001", they
have it quite correct that by building a space
station, you fly up and then it's a simple stones
throw or hop to the moon. Very, very simple.
Russ: now with this gas helium three on the moon,
is that something that could be used to assist us
here on the planet or is that something that's
best left in space?
Tia: you're really asking the wrong person aren't
you? You're asking me technical engineering
questions when I am not a technical engineering
expert.
Russ: okay, I'll ask Kiri when she comes on. So
what else darling?
Tia: well.....
Russ: well what is Kiri holding up that you asked
her to put down?
Tia: well Treene showed up.....
Russ: yeah?
Tia: and Alana is here........
Russ: yeah.
Tia: and Kiri keeps on picking Treene up.
Russ: so?
Tia: well it's very distracting, she supposed to
be helping Teene.
Russ: what? With the engineering?
Tia: uh-huh. Okay, now where were we? Oh yes. You
don't want to hear about my trip? I'm hurt, I'm
crushed.
Russ: Mark told me all about your trip.
Tia: oh, what did he tell you?
Russ: he told me you got to meet some really great
people, you got stay in a really great place.
Tia: uh-huh.
Russ: you got to.....and then you also got
to.......and then you come back.
Tia: I got to do what?
Russ: oh yeah, you got to hook up with friends of
Kiri's.
Tia: oh, we had a blast.
Russ: oh, excellent.
Tia: uh-huh.
Russ: any good restaurants?
Tia: yeah, we went to a exclusive one. The great
thing was that everything that I did was all VIP.
I didn't have to worry about anything.
Russ: oh wonderful, excellent.
Tia: we went out, it must've been about a week
ago, yeah, it was a week ago, it was a Wednesday
night. We went out to a very, very exclusive
restaurant. It's reserved for normally important
dignitaries, ambassadors and senators and we went
there, we got the best table in the house with the
best view. We watched the sunset, we had some
Sirian claret, actually we had quite a few Sirian
clarets. And then they served me up a special,
special meal.
Russ: ohh, what did they serve you?
Tia: they serveed me up an animal that is
indigenous from my planet.
Russ: really?
Tia: uh-huh.
Russ: that is special.
Tia: uh-huh. It's like a rabbit but it has bigger
legs in the front. It's kind of rabbit sized and
shape but much more powerful legs. It has long
ears like your rabbits do.
Russ: ahhh.
Tia: uh-huh.
Russ: that must've been a pain in the butt to get
for you.
Tia: I can imagine it would've been. Tasted
wonderful.
Russ: was it like chicken?
Tia: no, it has a kind of earthy taste to it.
Russ: ahh.
Tia: afterwards we went back to the house. It's
not a house, it's a mansion. Five bedrooms, it had
a big playroom, big playroom. It had a kitchen
with a staff believe it or not.
Russ: wow.
Tia: staff of two, I could order whatever meals I
wanted. I had a study and it had what I think you
would call an entertainment room?
Russ: you mean like videos and things like that?
Tia: what it was videos and exercise equipment and
all kinds of stuff in there.
Russ: ahh.
Tia: the playroom was very entertaining.
Russ: well wonderful, what was in there?
Tia: sorry?
Russ: what was in there?
Tia: there was soft toys and lots of cushions and
it was a very nice room.
Russ: excellent. And did you get a chance to get
yourself on holos around the planet there or
something as a visiting dignitary?
Tia: when I arrived, they did have a couple crews
following me around but as soon as I got to the
house it was close the door, locked the door, I
just wanted to relax on Monday and then we had the
formal function on Monday night. The formal
greeting and everything and that was a pain.
Russ: a little pomp and circumstance?
Tia: uh-huh. They wanted me to talk and say how
much of a pleasure and an honor it was to be there
and all's I wanted to do was hide.
Russ: well it was a pleasure and honor to be
there.
Tia: oh it was, it was. It was just very hard for
me to stand up in front of 800 people and address
them.
Russ: should've drank more champagne.
Tia: you know me and wines.
Russ: uh-huh.
Tia: I have a couple glasses and I fall down.
Russ: which is why mentioned it. It would've
loosened you up nicely.
Tia: it would've loosened me up too much. And then
on the second day, I had a meeting with the
president and a couple of ambassadors and the
Council of Twelve.
Russ: so how was Tanaka?
(Ed. note: the president of Sirius)
Tia: he's doing well.
Russ: is he enjoying his job?
Tia: I don't think so.
Russ: I don't think so either. Did you get to see
Gonzo while you were there?
Tia: uh-huh.
Russ: and how is Gonzo? How is she doing?
Tia: well she's very stressed as well about the
whole entire thing.
Russ, she's a mother now.....
Tia: uh-huh.
Russ: she's got motherly duties over everything
else.
Tia: uh-huh but she was very stressed the fact
that they had to host my luncheon and everything
and she was trying to be the perfect hostess and
take care of things and.....
Russ: well I know she'll understand if she screwed
it up.
Tia: well she wasn't concerned about me, she was
more concerned about screwing it up for other
people.
Russ: oh.
Tia: uh-huh.
Russ: oh well. Did you get to spend any quality
time with them?
Tia: unfortunately no, it was all business. I had
the third day pretty much free. I had a kind of a
visit to make to a clinic on the third day. The
fourth day was pretty much sitting in on Council
meetings and putting my two cents worth in.
Russ: hmm.
Tia: the fifth day was a meeting with the Council
of healers.
Russ: uh-huh.
Tia: well healers and coercers actually which was
very entertaining and funny for me.
Russ: you may get out of you what Sarra said?
Tia: uh-huh.
Russ: oh that figures.
Tia: uh-huh. They tried coercing me and probing me
and everything and I just retreated within myself.
Russ: well that figures.
Tia: uh-huh.
Russ: that would be the topic of conversation on
the planet.
Tia: uh-huh.
Russ: what did Sarra tell Tia?
Tia: uh-huh.
Russ: only Sarra and you know.
Tia: uh-huh and that's the way it's going to be.
I'm going to put on the next speaker is I have to
go and chastise Kiri.
Russ: chastising it, chastising it, I want to
watch.
Tia: oohhh.
Russ: yeah.
Tia: I suppose you would prefer to watch a
spanking.
Russ: a spanking, a spanking.
(from Monty Python)
Tia: are all third dimensional males like that? Oh
well.
Russ: bye love.
Tia: bye.
(Tia says goodbye in Durondedunn)
(Karra gives us some base
information)
Karra: hello.
Russ: so how are you doing my love?
Karra: I'm doing good.
Russ: good.
Karra: I'm doing real good.
Russ: so, what's been going on?
Karra: well, I did a session with a couple the
other day that wants to go home. They're not
enjoying themselves on the base.
Russ: what's not to enjoy?
Karra: well, they miss being able to walk many,
many miles. They're very much into hiking.
Russ: ohh.
Karra: uh-huh.
Russ: that would be a little tough down there on
the base.
Karra: uh-huh. They've been here a year now and
they're really not enjoying themselves. Also I've
had numerous meetings with various officials that
have come to the base in relation to the upcoming
talks.
Russ: oh good.
Karra: uh-huh. So that's kept me pretty busy.
Russ: can't they just go up on the surface and
walk around?
Karra: you've got to remember the laws of.........
Russ: fifth dimension.
Karra: yes.
Russ: that's true.
Karra: uh-huh.
Linda: so what's the problem?
Russ: fifth dimension is a very convoluted
kind of dimension.
Karra: uh-huh.
Russ: it would be a very tricky route.
Karra: oh yes. Okay, I will use Kiri's analogy and
I will try to mimic Kiri which doesn't work.
Russ: okay.
Karra: okay, in its simplest form.......and this
is very simple.....let us say you are sitting in a
room that is in a fifth dimensional space. In
fifth dimensional space, things are not as they
appear. Let us say you are sitting down at a table
to eat. In front of you is a plate full of your
choiceiest food that you really enjoy.
Linda: I'm hungry right now.
Karra: uh-huh. You may be able to understand this
easier with a hungry stomach.
Linda: uh-huh.
Karra: okay, you reach down for your fork but your
fork is the same distance away as before you
reached for it even though your arm is fully
extended. So you reach for it again leaning
forward and it's still the same distance away. You
get up and walk around the table and you pick up
the fork. You reach over for the plate and the
plate is still the same distance away even though
you reached for it. You see, the thing is with
fifth dimensional space is that because of the
physics, things don't appear as they are. Another
way to describe it is it would take four steps to
cross this room. In a fifth dimensional space, you
could get up and you could walk all day and never
cross the room. However, if you sat down for five
minutes and got up, it may take only take one step
to cross the room. So it's not a constant distance
thing. It changes frequently.
Russ: so what causes that Karra?
Karra: you're asking the wrong person.
Linda: do you have this problem?
Karra: not where we are........
Linda: oh.
Karra: fortunately.
Russ: no, they're in a sixth dimensional bubble.
Karra: uh-huh.
Linda: you know what? The only way I can
understand that is at nighttime?
Karra: uh-huh.
Linda: headlights of cars if I'm going to cross
the street, they seem to be further away or
sometimes closer.....
Karra: uh-huh.
Linda: and it's really hard to judge if I should
run or if I can walk across the street.....
Karra: uh-huh.
Linda: to have enough time to get onto the other
side.
Karra: yes, it's kind of like that. It's kind of
like you're never sure on the judgment of
distance.
Linda: yeah. The light almost blinds me a little
bit.
Karra: uh-huh. It's like you could have a room
this size, right? But inside the room it is huge.
It's big enough to walk and run all day and never
reach the other side.
Linda: photography does that wonderfully.
Karra: uh-huh. Yes there are actually, thinking
about it, there are some good examples that Russ
has seen over the years. A picture of a person
standing in a room, and they're standing in the
corner and they're all hunched over but yet the
person standing next to them looks real tiny and
they're standing in the other corner.
Linda: yeah, I've seen them do that.
Karra: and that's kind of like the fifth
dimensional space.
Russ: actually, it reminds me kind of like that
Knott's Berry Farm when I saw when I was really,
really young.
Karra: uh-huh.
Russ: where they had water that ran uphill...
Karra: uh-huh.
Russ: and a pool table that was angled but the
balls still rolled all over like they were going
downhill?
Karra: like they were going uphill.
Russ: yep.
Karra: so that's basically how the fifth dimension
appears.
Russ: hmm, interesting.
Karra: okay, as it's going to be a short session
tonight, you have any more questions?
Russ: I don't, no.
Karra: Linda?
Linda: I don't have any, that was a trip Karra.
Karra: uh-huh. Okay......
Russ: bye love.
(Tia makes a quick speaker transition)
(Tia says hi in Durondedunn)
Russ: hi Tia.
Linda: hi Tia.
Tia: hey, hey, hey. Okay, well it's just us girls
tonight.
Russ: Kiri behaving herself?
Tia: no. Okay, I'll put on the next speaker.
(Alana makes one of her rare
appearances)
Alana: hello.
Russ: hello.
Linda: hi.
Alana: hey, how's it going?
Linda: good.
Alana: yes, I know, I sound like my mother.
Russ: uh-huh, that's all right love. Alana, I
don't know if you've met Linda yet.
Alana: no I haven't. Alana this is Linda, this is
Karra's daughter.
Linda: oh.
Alana: it is a pleasure and a delight.
Linda: yes, you do sound like your mother.
Alana: thank you. I am not my mother though.
Linda: that's who I thought it was right away.
Alana: uh-huh. I am primarily........I suppose I
better do some kind of introduction type thing.
Russ: a bio.
Alana: oh, a bio. I am primarily a marine
biologist.
Linda: oh wonderful.
Alana: uh-huh. I work a lot with dolphins...
Linda: I love dolphins.
Alana: I'm also a linguistics expert. And I do a
lot of work with the dolphins understanding and
comprehending their thought processes and
their communication abilities. It's very
entertaining and interesting. I get to swim a lot.
Linda: oh.
Alana: I'm also the mother of three children.
Russ: one of them is mine.
Alana: uh-huh.
Alana: like my auntie, in fact I'm very much like
my auntie I've been told.....
Russ: that would be Kiri.
Alana: uh-huh.
Linda: okay.
Alana: I am very, very inquisitive. My biggest
goal in life is probably learning to understand
more.
Linda: oh, that's wonderful....
Alana: uh-huh.
Linda: to have that one. Curiosity and yet
absorption to that ability...
Alana: uh-huh.
Linda: and then to have good people around you
that actually feed you with the correct
information.
Alana: yes it is, it is great. Correct information
can be a perception.
Linda: yeah.
Alana: what is correct for one person may not be
correct for another.
Linda: exactly.
Alana: uh-huh. I also enjoy practical jokes, don't
I Russ?
Russ: indeed you do.
Alana: okay, do I have to give a talk?
Russ: no.
Alana: hmm.
Russ: unless you have something prepared and want
to.....
Alana: no I don't actually. I came wandering down
on the spur of the moment to see my mother and my
auntie.
Russ: well I'm glad you did, we haven't seen each
other in a long time.
Alana: no we haven't, I've been very busy.
Russ: you haven't channeled in a few weeks.
Alana: few months, since before the birth of the
baby.
Russ: that's true.
Alana: uh-huh.
Russ: so how do you like being a mother of three
now?
Alana: it's a lot of work. I'm not going to have
any more for quite a while.
Russ: well that's probably good.
Alana: uh-huh.
Russ: excellent. How are the dolphins doing? How's
that one from Earth?
Alana: it's finally fitting in.
Russ: okay.
Alana: I spent a lot of time communicating.
Linda: do they communicate differently?
Alana: uh-huh.
Linda: or do they look different?
Alana: they don't look any different. In fact, the
longer they're up here, the more they look like
the dolphins that we have up here from Sirius.
Linda: oh. Are they very beautiful and innocent
looking and they love to play?
Alana: oh, do they love to play?
Linda: that's what I love about them.
Alana: they're very mischievous, very playful,
they have a wicked, wicked sense of humor.
Linda: why, what is it?
Alana: well I was diving and I was about thirty
units down in my.......I have my air unit on and
one of them decided that it wanted my air unit. So
it came between my legs, up my back and took it
clean off. Almost ripped my shoulders off and then
made off at high speed.
Linda: oh no.
Alana: oh, it was easy to swim back up to the
surface but it was a little hard on my lungs to
climb such a distance.
Linda: oh man.
Alana: I don't think they would've let anything
bad happen to me. But I tried to get it back and I
would swim up and the dolphin would look at me,
blow water at me and then just back up just out of
reach.
Linda: oh.
Alana: so I would swim closer and it would blow
more water at me and back off. Finally I was
within reaching distance, I went to grab the air
unit and it made a run for it. Right between my
legs, went down deep.
Linda: oh geez. And they're smart so they kind of
know what that was for.
Alana: uh-huh. I thought it was very funny
actually.
Linda: well I'm glad you're all right.
Alana: uh-huh.
Russ: how's Miranda doing?
Alana: oh she's doing good, she's behaving
impeccably.
Russ: excellent.
Alana: uh-huh. She's at the moment back at the
apartment, she should be in bed and everything.
Russ: oh that's good. Have you had a chance to
interact with your mom when she's doing the
ambassadorial thing?
Alana: I make formal appointments.
Russ: with mom?
Alana: uh-huh.
Russ: really?
Alana: well, it's a matter of respect.
Russ: well that's true.
Alana: I do invite her over for dinner and lunch
every so often.
Russ: that's good.
Alana: uh-huh.
Russ: excellent, excellent. And your girlfriend?
Alana: she's doing fine.
Russ: good.
Alana: uh-huh. She's going to be gone for six
months unfortunately.
Russ: oh, what's up?
Alana: she's going to Sirius for a refresher
course.
Russ: six months?
Alana: uh-huh.
Russ: long refresher course.
Alana: well, it's an opportunity for her to work
on the latest equipment and get some refocusing.
Russ: oh, that's good.
Alana: uh-huh.
Russ: excellent.
Alana: I think she needs it a little bit.
Russ: well we're having a short night this
evening.....
Alana: oh, okay.
Russ: so we've got......I think we've got Kiri
left.....
Alana: uh-huh.
Russ: if I'm not mistaken. And are you going to be
coming by more often now maybe?
Alana: I'm going to try, I'm going to try.
Russ: if you can it would be great.
Alana: okay. And I will work up something
for.......Tia was quite correct, that is very
distracting.
Russ: I agree. I'll try to stop up and say hi to
you and Miranda and your girlfriend if she is
there.
Alana: I suppose mother's projecting is she?
Russ: uh-huh.
Alana: okay.
Russ: all right, bye love.
(Tia is back to make the night's last speaker
change)
(Tia says hi in Durondedunn)
Russ: hi Kiri....or Tia.
Linda: hi.
Russ: I was expecting Kiri.
Tia: oh yes, I would expect Kiri. Okay.....
Russ: break her away for long enough.
Linda: what is she doing?
Russ: oh, she's just having fun.
Linda: oh good.
(Tia says goodbye in Durondedunn)
(Kiri ends this session with a
design intervention)
Kiri: hello.
Linda: hello.
Kiri: how are you doing Linda?
Linda: I'm doing great.
Kiri: that makes two of us.
Linda: good.
Kiri: uh-huh.
Russ: yes, I'm doing good too love.
Kiri: oh, you are?
Russ: yeah.
Kiri: hmm. Okay, I suppose I should answer
questions.
Linda: okay.
Kiri: well?
Russ: well, I've got a couple for you.
Kiri: yes, I would like a couple.
Russ: on the gases that are trapped on the
moon....
Kiri: uh-huh.
Russ: oxygen three. It uses on earth, would they
be a benefit to earth or is it strictly something
that should be kept in space?
Kiri: it would be a benefit, depends how you use
it. Like anything, if you use it wrongly, it can
be very detrimental.
Kiri: hydrogen three is very useful, very, very
useful. Now, why is it called hydrogen three?
Russ: because there's three atoms of hydrogen.
Kiri: that's right. And being so, it means it's
more potent. Now, if you know anything about
fusion, that is one of the ingredients.
Russ: right.
Kiri: and this is very hard for me to focus.
Russ: well hydrogen fusion is merely something
where they superheat the hydrogen molecules so
that they bond together.
Kiri: uh-huh.
Russ: and the energy released then is used to
power reactors.
Kiri: uh-huh.
Russ: so when you take a hydrogen three molecule
as a difference, you're tripling the amount of
energy output.
Kiri: correct.
Russ: but you still have to still use the same
amount of energy input to get those temperatures,
right?
Kiri: uh-huh, correct.
Russ: so all you're really getting is extra energy
out for the same amount of energy put in.
Kiri: yes, or if you put in less energy, you get
the same amount as energy you would if you were
just using Hydrogen two.
Russ: okay. But is it worth the expense of going
all the way to the moon and getting it?
Kiri: well if you're using the same amount of
energy that you would normally and you're getting
one third the extra performance, I think so.
Russ: that's a long trip for a bunch of hydrogen
three.
Kiri: being able to go one third the extra
distance? I think it's worth it.
Russ: well what they need is a way to actually
fuel their ships once they get to the moon from
the hydrogen three.
Kiri: uh-huh.
Russ: okay, what's the other question I had for
you?
Kiri: yes I am.
Linda: you are what?
Kiri: in one of those moods.
Russ: well......
Kiri: but the thing that I enjoy is that when I'm
wearing something sexy, like a........I think it
would be similar to your Wonderbra? But it's a
cross between a Wonderbra and a halter top?
Russ: uh-huh.
Kiri: it's what Russ called a willpower bra?
Linda: hmm.
Kiri: wearing something like that that really
tantalizes, really kind of makes people drool if
you know what I mean.
Linda: gleek?
Kiri: uh-huh.
Linda: yeah.
Kiri: uh-huh. So I've been working on on in my
free time on those designs. It's all for fun, all
to tease. If you want, I can give you some
designs?
Linda: how would you give them to me?
Kiri: I can write with paper and inscribing
instruments.
Linda: okay.
Kiri: but not tonight.
Linda: okay, I'd like it if you did that because I
would be buying a sewing machine for winter.
Kiri: uh-huh. Oohhhhh.
Linda: because I love to sew.
Kiri: uh-huh. Okay, well we'll work out
some......I've got a really, really hot swimsuit
design that you might like.
Linda: okay.
Kiri: you know how you have bikinis?
Linda: yeah?
Kiri: well this is a trikini.
Linda: a trikini?
Kiri: uh-huh.
Linda: how do you wear a trikini?
Kiri: well, it involves a little bit of Velcro and
there's two ways that you can wear it. You can
wear it as a bikini which has a tiny, little,
almost invisible strap that you have and it's kind
of like.......best way to describe it is that it's
two pieces of material intertwined like this?
Linda: uh-huh.
Kiri: and you have to put on one side before you
put on the other side and it sits really high on
the hip.
Linda: oh, it sounds cute.
Kiri: uh-huh. And you have to have the Velcro to
hold it together.
Linda: okay.
Kiri: yeah, that normally goes on the crotch area.
Linda: and it doesn't come undone easily?
Kiri: no, it's something you don't swim in.
Linda: oh, okay.
Kiri: uh-huh. It's for looks.
Linda: oh good.
Kiri: uh-huh. And then of course you'd wear
something like an underwire bikini top.
Linda: hmm.
Kiri: kind of push you up a little bit.
Linda: oh, I got one of those.
Kiri: uh-huh. It's again, all for looks. And it's
a lot of fun too. And then there's another design
that I have which actually has a piece of
semi-hard plastic in the front which again goes
between the legs. And it kinda looks like you have
no straps to hold it in place and how does it stay
in place? Hmmm?
Linda: I don't know.
Kerry: it kind of pinches into the skin a little
bit. It kinda cuts like this and pinches in.
Linda: oh.
Kiri: uh-huh. But you use a fabric over the top of
it.
Linda: oh, okay.
Kiri: and that just slides out so it's real easy
to laundry....
Linda: hmm?
Kiri: real easy. Okay, you have any questions?
Linda: hmm, I can't think of any.
Russ: well, I had one and then and now you're
talking about bathing suits, wiped it out of my
head. I can't think of what it would be now.
Kiri: uh-huh.
Russ: so what else has your life been doing? Any
new engineering projects you're excited about?
Kiri: actually, I've put a few on hold at the
moment mainly because I can't focus and
concentrate properly.
Russ: oh.
Kiri: it's not due with the fact that I was
ovulating or anything, it was just the fact that I
was getting to the point of a little bit of
overload on work.
Russ: oh really?
Kiri: uh-huh. So I thought I would ease up and
construct a hold of toys and stuff.
Russ: oh, sounds like fun.
Kiri: uh-huh. In fact, I was working with Bunny's
design for her sister. For Leah and that little
project that those two are working on.
Russ: excellent.
Kiri: uh-huh. Figured out a few things that I can
do to fine-tune it and make it much more effective
and much more, much more beneficial.
Russ: okay.
Kiri: uh-huh.
Kiri: well how much time do we have left on the
tape? Should almost be over.
Russ: I can't tell, it's actually too dark. But
you're right, we've got about another one minute,
two minutes here.
Kiri: oohhh.
Russ: well I'm glad everything's going good for
you right now.
Kiri: uh-huh, I think so.
Russ: excellent.
Kiri: oh, guess who got her rollerblades back?
Russ: I expect a nice broken arm soon then. Kiri
breaks her arm every time she gets these things.
Kiri: hey, I've had them back for about a month.
They're a great way of getting backwards and
forwards from the lab.
Linda: you break your arm on rollerblades?
Kiri: I broken my arm twice so far.
Linda: I broke my tailbone once on skates.
Kiri: oohhh, that hurts.
Linda: yep, just had a bad fall is all. So I've
got a little hook on the end of my tail......
Kiri: uh-huh.
Linda: just like a cat.
Kiri: kind of like Tia.
Linda: yeah.
Kiri: apart from Tia's actually protrudes out of
the skin.
Linda: oh, mine does too.
Kiri: oh really?
Linda: yeah.
Kiri: maybe there's been some genetic manipulation
going on and you're descended from
Durondedunns.....
THE TAPE ENDS
|
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