"Gems of Akasha"
[ This beautifully written, insightful and eminently practical expose was written by "EMC" and was originally posted to the BardonPraxis discussion group on 04 May 2003. ]
Whatever you want to manifest will have an emotional tone. Even if it is an "external" accomplishment or condition, the end result is always something you anticipate experiencing or feeling as a result of your objective. This emotional tone is going to fall into a broad category, but it will also be very specific to a particular objective.
This tone can be used to build a symbolic representation. It is built using calibration with the tone... does it increase the intensity and quality of the tone or does it diminish it? You are not going to know intellectually what is going to symbolically create the best representation of this tone... you will have to cycle through imagery, color, form, sound, scent, taste and expression that arises intuitively, without judgment, to find the most powerful building blocks and final form for this "talisman."
These are re-usable constructs, and it seems valuable to collect a set of half a dozen or so that represent to you, at your current stage, the most valuable states of being you would like to experience in this existence. Perhaps when one is more advanced, this can be done easily on the fly. I've found at this point, I need to take time to construct and calibrate energy into these carefully, and in advance, for the greatest effect. It's like collecting a set of magical gems for one's personal "medicine bag."
When you utilize any of these gems in the future, they are already attuned to the tone and they are easily energized, in fact, the work that went into their calibrated construction helps tap the energy they require in subsequent application.
An important difference is that these magical gems aren't about pulling a particular thing or circumstance, they are about manifesting a particular experience. A distillation of sort. It is different from holding and experiencing the physical condition in a magnetic form for manifesting and channeling the intent down through the 4 planes as described previously.
Constructing akashic gems can point out some interesting ways we have put blinders on our imaginations. It is sometimes easier to think of the things, situations or characteristics that we desire than to explore what these circumstances allow us to be or experience. What is it that you ultimately want to be in this existence and how would you experience the world in that state of being?
Using a simplistic example, say you wanted to have no material concerns about money. Whatever money could provide you in terms of free time, travel, living conditions, etc. was something you no longer had to even consider consciously. Can you tap into the emotional tone of what your world would be like? It's weird, and oddly liberating to begin thinking of what, in the vast palette of potential states, we want to experience rather that focusing on the obstacles and strategies and necessary requirements for getting there. Ultimately, for any of our goals, it's the experience of how we will feel that we are actually after.
Now if your medicine bag contains gems for the selected states that you feel represent all your highest aspirations of bliss at this stage of your learning, you can pull any one out at any time to impregnate the akasha around you. And then forget it. But at the end of the day, reflect back on when and where you might have tapped or brushed synchronistically across responsive notes of this frequency. Your medicine bag begins to seed the fabric of your routine existence with the highest aspirations you can conceive. (Although it can be used as effectively for more modest tones to gain facility with the technique.)
There is an alchemy here that only akasha can provide.
If this sounds too abstract, a better way of getting a handle on the principle is through the use of your own personal sanctuary. Finding/building an interior environment that represents to you, most accurately, the feeling tone of "home." Not home remembered from childhood, but home that calls to you from the core of your being. Using this feeling tone as a guide you can learn how to interact with symbols and images during the construction of your sanctuary that calibrate with a single focus. After this, the gems may make more sense.
The sanctuary has the side effect of giving you a solid sense of grounding and centeredness in the everyday world. Most people don't have this type of space in their experience, and this is a "power spot" as potent, if not more so, than any sacred spot that you can visit in the material world. ("Spaces" of interior experience are just as important, if not more so, than exterior spaces, which are actually interior themselves, if you think about it.)
So this is the first half of the technique. In summary, using emotional "tone" to shape through calibration a multi-modal (form, color, sound, etc.) construct, the tone ensures this is not strictly a linear, intellectual construct but has the unique and specific elements that
represent this intent for you. The second half of the technique is projecting or seeding akasha with this precise energy.
For this, you need to make the construct the center of your "I" or presence. In the west our center of consciousness is usually located in the head, typically somewhere between the eyes and a few inches back. This nexus of center is what needs to be moved into the construct so you experience your perspective from the construct rather than the notch that you typically rest your "identity" in (which is a type of Akashic imprint in its own right.) An easier start to get a feel for this might
be this exercise:
To me, akasha is a holographic medium and it can be impregnated as a "whole" by centering awareness in the construct and feeling the expansion of boundaries in this energy extend to infinity. It is the kinesthetic equivalent of each of us being the center in an infinite universe. A very similar sensation to "soft" eyes or hakalua, when you spread your vision out to include all of your peripheral sight. This may be where description starts breaking down too and you'll just have to try it :-)
A related technique is impregnating a circumscribed substance, like the air around you or food, etc. In this sense, rather than extending out to infinity, you project the construct into the substance (or keep it in the center of the body for breathing) and feel the periphery as the circumference defined by the substance. So for food, you would project the construct into the food and with your awareness in and of the construct, expand it out to include the substance within the boundaries of its physical form. This "patterns" everything within that space with the holographic imprint.
I've noticed there are usually small differences that make a major difference in the effectiveness of any magical technique. These can be highly individual but it is important to discover them rather than apply the exercises by rote and repetition.
>> To do the 2nd part of the process, is it necessary to master step five? <<
The projective step in the gem procedure accounts for a way of feeling and interacting with space. You don't need to have mastered space magic in step 5 to experience this or to use it for patterning akasha. However, with each step you advance in Bardon, almost any expression of magic becomes more powerful and effective. Step 3's space impregnation, step 4's transplantation of the focal or assemblage point will also make this pattern and many other forms of intent more potent. The use of the "sanctuary" can both facilitate and benefit from the skills you've obtained from Step 3's sensorial combinations. You can even see the concrete benefits of Step 1's single thought focus and Step 2's working to hold the separate modalities reflected in the ongoing cohesiveness of the sanctuary. So I believe wherever you are in Bardon, these experiments are effective and with each step you'll accrue more benefit and, no doubt, more creative distinctions to explore. I think of it as a sort of holistic/biofeedback exercise that lets you see how the steps you are on can be applied with immediate calibrations and prime you in some fertile ways for the steps to come.
Note, the projective step of this pattern plays with our experience of awareness in subjective space and our intuitions of infinity which I believe starts awakening some nascent perceptions of akasha in a more direct fashion. Like Rawn's perceiving of "essential meaning." And there's another vector interesting to explore in this vein, that is time.