Akashic Records Reading: Daniel
Part I. Spiritual Awakening
As I come in contact with Daniel’s energy, I feel like not knowing who I am – and not knowing how’s that supposed to feel. There’s a disconnection with what it means to be “myself”.
Daniel’s energy feels hesitant and cautious. The need to move slowly, like a small child going alone into a dark place. He also feels without direction or purpose. This is not about any particular subject, but about his life in general. There’s a large sensation of being clueless, of not controlling or grasping situations.
This overall energy and sensation is the primary theme of this reading.
This also applies to the process of spiritual awakening, for example, about seeing sequences of numbers. Daniel knows he’s in a process of some kind, perhaps spiritual or metaphysical. But at the same time he also feels incredulous, or perhaps even lost, about this process.
However, Daniel knows something is indeed happening. A number of things in his life have been, if you will, trying to get his attention. He wants to know what is the meaning of this. We hope to provide healing and insight about these topics in this reading.
Throughout this reading I may freely and spontaneously interchange between speaking in the first person (“me”, “I”) and the third person (“us”, “we”). This reading is brought to you by the collaboration of myself with my collective spiritual team, and with yours as well. So whenever in this text I’m speaking in the third person, that reflects the overall perspective of this collaboration.
1.2 On Spiritual Awakening
Before proceeding any further we’ll spend a moment to address the “basics” about the process of spiritual awakening, to shed some light on the subject.
Spiritual awakening is a process by which the person begins to be aware of the spiritual nature of reality. This is what happened to you, namely with noticing the sequences of numbers.
The process of spiritual awakening is neither random nor casual. It involves a great amount of planning and work on the spiritual levels. It is a major event, because the person is offered the choice to expand his awareness. Should the person be open to this, his/her perception of reality will never be the same.
Spiritual awakening is not the same for every person. However, a number of things are common to happen, and one of them is the repeated series of numbers and symbols, such as described by Daniel: 111, 222, 333, 1212, etc. This is called synchronicity. What do these sequences mean? Why do they happen?
The first purpose of these sequences is simply to show you that there’s a level of reality and meaning beyond what can be seen or touched. The sequences are shown to the person so he/she begins to become aware of that subtle level.
This perception is heart-based instead of mind-based. There will be no scientific evidence or reliable, repeatable testing that can prove the veracity of this. So how can you be sure if there really is something “out there”, or if it’s just imagination?
You can’t. Instead of relying on evidence and proof, you rely on what you feel, and with an open mind. So you know what’s real and what isn’t with your heart, instead of with the mind. This is the first true purpose of synchronicity: for you to perceive reality with feeling and intuition, instead of with reasoning and the logical mind.
The numbers and symbols are placed “in front of you” by your personal spiritual guidance team. They use a combination of manipulating the physical reality around you (which is holographic in nature), with a “nudge” on you at the right moment, so you just happen to look in the right place at the right time. Synchronicity is
therefore a way for your guides to speak to you.
Your guidance team is a group of entities and energies assigned to you personally, strictly in service of the Light and in alignment with the lessons and intentions of your Soul. They are benevolent and are always at your side. They always had been with you your whole life – but during the process of spiritual awakening, they usually are given more freedom to reach out to you in more “visible” ways, such as with synchronicity for example.
Synchronicity is something relatively common for individuals who are “spiritual awaken”, and/or undergoing their spiritual awakening. So in that sense, you are not alone.
Furthermore, the codes shown to you via synchronicity may hold particular meanings, which your spiritual guidance team may be trying to convey to you.
Synchronicity is not something you should obsess or fret about. It is already “good enough”, if you will, to become aware of it, or at least to be open to the possibility that it might be real. Nonetheless, it is possible to expand the communication happening with synchronicity further, by beginning to understand the possible particular meanings that are coming through.
Much like the process of spiritual awakening itself, there’s a part of the meaning of numbers and symbols that is more or less common, or default for everyone, i.e. used by spiritual guidance teams in general. The meanings of number sequences relate closely with Numerology.
To understand such meanings you don’t need to know Numerology in-depth. You only need to be aware of the basics.
To offer a very basic explanation, in Numerology each individual number has a specific abstract meaning, or energy, to it – much like each letter in the alphabet has a specific sound. So for instance, the number 1 is the energy of new beginnings, of the first thought, the first intention, the first motion or action. The number 2 is the energy of emotion, intuition, trust, and also of engaging and interacting with another. The number 3 is the energy of decision, motion, willpower, and of acting on physical matter. And so on.
From here, you can have repeating sequences of the same number. The repetition implies a reinforced meaning. So for example, “111” might represent receiving new insights, or spiritual information; “222” might represent the need to trust or have faith in your future; “333” might represent the need for action, decision, and/or commitment.
You can also have combinations of two or more numbers in one sequence. Here they’ll form a new meaning from their relation with each other, much like when you put together letters to form words, or words to form sentences. So for example, “121212” or “111222” is a combination of “first thought” or “insight” combined with “have faith” or “trust”, so it’ll mean your thoughts and intentions are being seeded are coming into fruition in the future, even if you don’t see the results yet (thoughts manifest in reality over time).
The order of the numbers in the sequence might also be meaningful. So using the previous example, the sequence “121212” might mean a quick succession of intentions whose results will begin to sprout into reality; whereas the sequence “111222” could mean you’d need to spend some time to carefully ponder on your intentions first.
There are a few “special cases”, i.e. particular combinations that hold strong meanings. One of the most well known is the “11:11” on the clock. This sequence represents “a great new beginning or awakening”. It says “time to awaken”. It can stand for the process of Spiritual Awakening itself. But it can also mean a new beginning, or a fresh insight, regarding a specific subject or situation.
Finally, there’s also a portion of meanings in synchronicity that is highly personal, and is “built”, or “developed”, for you alone, in conjunction with your guides. So let’s say for example, that on a particular day of your life – your graduation, your first employment, a relationship, and so on – you happen to sent a specific code, let’s say, A4-A4. So from that day on, that code will represent that particular event or type of situation.
Daniel’s energy is that of the ARTIST.
As I explored this information, the strongest energy I felt was the skill of holding the hand firmly and carefully, with detail and focus, so as to impart on the paper, or otherwise blank canvas, the precise image that is held within, in the mind, in a precise manner, exact the way I wants to. Holding the breath so that the hand accurately obey, match, mirror, with the most precision, the image that is held within, and is meant to be expressed. To translate the inner image into the paper.
Such an image, or conceptualization, begins in an abstract state, existing nowhere else but within the mind. It does not exist as a tangible or material thing, object, or concept. It is only brought into life by the work of the artist. In this manner the artist is capable of turning the invisible into visible. This is the definition of art.
Daniel is careful and methodical in doing things. He prefers things in an orderly fashion, carefully arranged and in order. He feels best whenever he has the emotional and mental space, and quiet time alone, to hold his focus, and arrange things the way he wants to. Again, this is a general assessment, not just valid for works of art or any particular situation, but in life in general.
When crafting something from his own creativity, he prefers starting from a completely fresh, clear, white canvas, so he has complete freedom and liberty in what he is meant to be doing, without limitation or bias. At that moment there is no limitation or bias. There is only him, the abstract image he holds within, and the blank canvas where to express it. Here, in this moment, as all is under his control, is where he feels the most free. Free to create.
Daniel is capable of seeing things up to a very minute detail. He is also adept at conveying those things in a very precise manner. The artist’s role is to show that which has not seen by others yet. He sees first what others will only see later.
There’s some habituation in the fact that others usually don’t see what he sees. Others don’t perceive the world as Daniel perceives it. In here there is a degree of solitude that is intrinsic, inherent to his nature, to be expected.
Daniel is an introvert. An introvert is a person who’s focused on the inner world first, as a priority, as opposed to the external one. An introvert’s comfort/recharge zone is when he is alone, whereas his “effort zone” is in interacting with others. An introvert will always lose energy when he’s required to speak, engage, or act, with others – particularly if it’s against his desire or judgement.
An introvert tends to not want to share or discuss things light-heartedly with others, in a casual manner, even about his doubts or questions. He’ll consider this attitude from others as “noise”, as pointless and kind of a waste of time. This is because he intuitively tries to seek the answers to questions within first. To him, any thinking or discussion that doesn’t come from within first, has no meaning.
Introversion is not bad or wrong. On the contrary. Not only is introversion “okay”, but it is often natural, healthy, and necessary, for the person who is sensitive and needs to focus on the inner world, in order to transmit and express it in the outside.
Introversion, therefore, is not something to be healed, changed, or “fixed”. Instead, it’s something to be accepted, and dealt with in the day-to-day life.
However, we do need to make a distinction between introversion and contraction.
Introversion is the mode of being that prioritizes the inner world. Contraction, however, is when a person is without drive, energy, or direction.
One does not imply the other. Introversion is a natural trait. A person can be introvert and still be driven and confident. Contraction, however, is a situation of imbalance. The person is stalled, in a state of depression. This is also Daniel’s case at the moment.
Daniel feels depressive, devoid of direction, and without anything that he can call his own. There isn’t any excitement, enthusiasm, desire, vibrancy, or colour in his life.
His energy levels are always low.
There is a big void where he feels his identity and passions should be. This is one of the reasons he requested this reading: he feels there’s something missing. Through the course of this reading we’ll be going in-depth through this feeling.
1.5 Perfection and Control
As a spiritual entity, Daniel deals closely with the concept of PERFECTION. The hand must be absolutely precise and in sync with the image held within. The canvas must be absolutely clean and clear. His time and schedule must be under his control, unobstructed of interruptions from others. The perfect conditions must be met for the final work to run smoothly, and turn out perfect.
However, in his quest for perfection the artist can often go into exaggeration. He wants everything to be neat, tidy, arranged – specifically, in the way he wants. But this can be taken so far so as to block the natural and vibrant aspects of life. Too much order creates a kind of perfection that is sterile.
If too many things are removed, trimmed, chiselled, cut away, the ebb and flow of life is interrupted. The flow of the heart, and passion, are blocked.
This is not valid only for a specific circumstances in Daniel’s life, or even for his past-lives on Earth. This a broad, abstract observation, that is valid for him as a spiritual entity beyond any lives or existences. It is a by-product of his exploration of the self, and a common experience for him.
For Daniel, seeking order and tidiness is also a form of defence. Daniel deals poorly with situations in “real life” that he cannot control, for example when dealing with others, when he hasn’t control over his schedule, or with the accumulation of undesired and/or unpleasant situations. He feels panic and in anxiety in these cases.
In order to deal with what he perceives as lack of order, seeking order, arrangement, and situations he can control, is an instinctive response. It’s an attempt to bring order into chaos. However, it does reinforce the tendency to lose track of his own Essence and passion.
Physical matter, and to an extent Nature and Life itself, are messy, irregular. They are organic, as opposed to artificial. They have a degree of chaos and unpredictability to them. This is both their danger, and their charm.
To a being who deals with accuracy, precision, exactness, and with bringing order into chaos, dealing with lack of control can be a challenging thing. However, any seeking of order that doesn’t also align with the natural – and to an extent unpredictable – ebb and flow of life, and Nature, will result in a life, and/or a work, that is sterile.
No flower ever grows with its stem perfectly straight, perfectly vertical. If any ever does, that will be an exception rather than the rule.
To hold on to order and perfection in an exaggerated manner is a situation of inflexibility. It doesn’t allow room for what is casual, natural. It doesn’t leave space for Life itself, which is unpredictable and has a force of its own. The person who holds on too much to control, tends to lose connection with his own intuition, creativity, inspiration, because it doesn’t leave space for those things to manifest.
This is one of the aspects that contributes to Daniel’s absence of purpose and direction. This reading aims to offer a degree of healing to Daniel’s Akashic Records in the sense of releasing tension in his life, to the degree that this tension contributes to the blocking of his own spiritual identity.
Instead of selecting things in his life based on being “predictable”/”unpredictable”, Daniel may choose them more on the grounds of I like them / I don’t like them. In this way, things might not be always completely under his control; but they will resonate with what he feels.
Life will not always be completely orderly, tidy, under control. But it will be allowed to reflect back to him, things that are good and pleasant to his heart. This is therefore a suggestion for Daniel to accept a little bit more the irregular and unpredictable nature of life.
Part II. Spiritual Journey and Essence
2.1 The 5th Level of Consciousness
In a purely spiritual sense, Daniel is a 5th consciousness, or 5D, entity. Even if he is currently incarnating on Earth, which is technically in 3D, his overall level of evolution as a spiritual entity is 5D. 5D is the level of consciousness that deals, precisely, with expression, communication, individuality, and personal freedom.
Densities are measures of consciousness, and therefore, first and foremost, abstract. The word “Density” here means abstract/spiritual awareness.
Daniel’s Essence, as a spiritual entity, is about dealing with the expression and communication of that which is purely abstract, potential, yet to be perceived and understood. He brings to the awareness of others that which they do not yet know, or do not yet see. This is the same to say, his Essence is that of the Artist.
Not everyone’s Essence is about expressing the abstract. Neither is 5D a level of awareness “exclusive” to artist Souls. 5D is a level of awareness any spiritual entity can go through in its journey. But Daniel’s natural spiritual Essence as if coincides with the level of awareness and lessons of 5D, which deals precisely with the
matters of communication and expression.
To offer an analogy, this would be a little like a Catholic priest teaching in a Catholic school or college. In this school not all teachers are priests, nor are they required to be. Yet the priest is particularly at home, in tune, with the school’s environment.
Daniel’s lessons in a spiritual sense are particularly intense, and particularly meaningful, much the same way the priest will take the religious perspective of the school to his heart. They both sync with each other.
2.2 The Two Halves of 5D
The journey through 5D can be divided in two layers. Imagine you’re undergoing a four-year course. In this example you could divide the course in two: the first two first years, and the last two.
5D can also be divided into two main “stages”. As a spiritual entity first graduates into 5D, it is eager, craving, for individuality, freedom, expression. That is precisely what made it graduate in the first place.
Previously, the entity had spent much time in 4D. 4D is a Density of empathy, love, compassion, and harmony with others; but these things are quite often prioritized at the expense of the self. As the entity graduates into 5D, it does so by realizing that nothing external is more important than following one’s Essence, uniqueness, and inner voice.
We could say that at the first half of 5th Density, where the entity graduates into from the 4th, the entity is particularly thirsty, eager, perhaps even desperate, to be true to itself. The entity had been, in a sense, suppressed in 4D; and when it first arrives in 5D, it experiences a kind of liberation. It feels as if it knows the truth for the first time. In 5D the entity is desperate for expression, for difference, and for the feelings of enthusiasm, strength, power, and truth, from those things.
However, this obstinate, if you will, determination, can lead the entity to extremes. The entity wants to make great, big pushes to express itself, to be true, and to experience freedom and truth as a result. It is committed to go ALL IN. But, as it does so, it will often forget to temper its excitement with rest, with pause, with detachment. The entity will forget to factor in these things, because they remind it of the mushiness of 4D, which the entity is now rejecting.
As a result, the entity’s efforts to seek and play out its own truth are made with strength and determination, but often without nurturing, calmness, or balance. The entity will often forget to respect its true and intrinsic rhythm. It rarely affords itself space, time, quietness, silence, to listen to the quiet tune of its own inner self. It just wants to go and do it!
Because of this, the entity will often bypass its own sense of what is balanced and what is not – resulting in a paradoxical situation where the entity is so excited and focused on living its own truth, that it loses track of it.
So now we have a situation of extremes. The entity will either go all in in every situation, or it doesn’t go at all. It will commit to decisions and never stop, even as it becomes worn out and goes beyond its own strength. And in the end, when its vital energy has all but run out, it is left burnt out, devoid of all energy and enthusiasm.
This is also Daniel’s case. As a spiritual entity, we he graduated into 5D he had the tendency to operate in extremes, without moderating himself. In his particular case this was even more intense than usual, as 5D lessons match his own Essence as a Soul, which deals precisely with expression. So what this means, is that he took the principle of being true to himself, and express himself properly, very seriously.
As he “arrived” in 5D, the prospect of personal freedom and liberty to express himself, beyond what others think or do, deeply resonated with him. Because of this, his extremes were equally serious: he could go from the exhilarating perspective of being true to himself, and push forward fearlessly in his endeavours with great energy; and then he’d fall into the most brutal of burn-outs, where he’d be left completely out of energy, for long stretches of time.
The situation he’s experiencing right now in his life, particularly his total lack of vital energy or drive, is an echo of this ancestral pattern.
Daniel’s lessons as a spiritual entity revolve around the opposites of expression and non-expression, inspiration and its absence, enthusiasm and passivity. He often can’t tell when a situation is balanced or not; or when to stop or continue. Daniel can feel profoundly devoid of energy; yet he desires to be immersed in a world of joy and vibrancy. This is his 5D reference.
Daniel will have the ability to focus greatly and spend a huge amount of work, effort, dedication, for example in a professional sense, in a job. However he may not know when to stop, when to pause, if the result of his effort is good enough – or even if the job itself is worth his consideration to begin with.
There may be the tendency to work hard yet not from the heart, in jobs that are meaningless in an inner sense. Not only there will be a vague sense of lack of direction, lack of motivation, but there won’t be even the awareness that there’s such a thing as working from the Essence. In this situation, where the inner sense of meaning should be, there will be nothing but emptiness.
2.3 Balance Between Action and Inaction
It is only in the pause, in the interval, in the break, in the in-between, that situations are re-assessed, evaluated. The moment of silence, of absence, creates a space where new information can come through. Therefore it’s in the silence, in the absence of things, that one’s own spiritual Essence can best be heard. But the enthusiastic, eager entity may have a hard time pausing, making intervals.
For this reason it becomes vulnerable to losing touch with its own true self.
Now we’ll mention the second half of 5D.
The second half of 5D is still 5D. It’s still about assertiveness, personal liberty, sovereignty, making one’s own choice.
The primary difference between the first half and the second, is that the entity has learned somewhat how to balance its own eagerness and passion, with a little bit of pause. With a little bit of breathing. With a little bit of taking a break and detach itself from things, momentarily, in-between moments of action and determination.
When the entity has acquired this kind of balancing or moderation, in its own assertive 5D energy, it has transitioned into the “second half”, which in terms of consciousness is less sharp, less extreme. That’s the difference between the first and second halves of 5D awareness.
This learning process is an exercise in patience. It’s an exercise in self-moderation, in self-management. No one is after the entity to regulate or censor it. It’s the entity whom, after finally becoming exhausted from the unbalance of living between constant extremes, decides to self-regulate, to take moments of peace and quiet. Not because of passion, happiness, or meaning, but for its own good.
In a broad spiritual sense, this is the overall point Daniel is at. He’s learning how to temper his own excitement and drive to embody his role, with the willingness to moderate that approach with moments of interval, of pause, of rest.
What this means, is that although Daniel has a natural tendency to push and work very hard, this pushing and working hard might not always be towards something that is actually fulfilling and meaningful to him. He might, for example, have worked hard and strongly to progress in his education and career; but not necessarily in a direction, timing, and/or the actual field, that was meaningful and fulfilling to him.
This will inevitably lead to major burnout, in terms of physical vitality and also in emotional energy, passion enthusiasm, both in the short and in the long term. The energy of burnout in the long-term, in Daniel’s case, can accumulate and affect Daniel, even across multiple lifetimes. This is part of the reason his absence of energy is so great and ingrained in him.
There’s a need to inter-space the moments and decisions of effort and commitment, with moments of pause, rest, re-assessment – “taking a breather” – where Daniel can understand if his current direction is what he really wants, or if he needs to change what he’s doing, be it in a small or big changes.
Also, Daniel is very ill-suited for professional environments and jobs where he must work a certain number of hours, meet a certain schedule, be under the pressure to meet deadlines, and so forth. This is a situation that will inevitably bring him burnout no matter what he tries or how he looks at it.
Daniel’s natural rhythm is to work according to his inner creativity, without rushing or pushing for long periods of time. This means working for a little while, then stopping; then as new insights of creativity come, work a little more. To work incrementally, bit by bit, not in large chunks but in small ones, perfecting the current work in the optimal, best possible way, according to the insights received in the previous resting period. Daniel might also work best during the night.
These considerations, to be put into practice, necessarily and obviously imply working in a schedule that is mostly under Daniel’s control – as opposed to him working for someone, and/or employed under someone else. This is also aligned with the activity of the artist who is producing his own work.
By artist we don’t necessarily imply painting a picture in a white canvas; although this is, historically, what most resonated with Daniel in previous lifetimes.
In the process of exploring his own natural Essence (should he choose to do so) Daniel will over time find his natural ‘productive’ rhythm, where he will be able to work productively and at a solid, good pace, despite introducing many moments of rest/pause in-between his working moments.
The act of pushing, the hurry and rush to have things done, can get in the way of his own Essence and natural rhythm. It blocks his own perception of where he wants to go and what he should be doing. Hence the advice in that regard is to temper this effort-making, balancing the need for passion and intensity, with rest and pause.
Much like the difference between introversion and contraction, there’s also a difference between being slow-paced and being without energy. The first means you are minding your own natural pace, and taking care to follow it, in a methodical and disciplined manner. The second means you’re drained and tired, without drive to push forward.
The first is a natural attribute that cannot be contested or criticized by anyone else; the second is an (ultimately) temporary state of unbalance that necessitates care and healing, and a tempered, tolerant state of mind.
The state of being drained and without energy is extremely potent and powerful for Daniel. It’s not something to be taken lightly. It’s not something that can be changed by ‘determination’, ‘motivation’, or working harder (that’s the origin of the problem to begin with). This situation is something that Daniel struggles with constantly, in his life, as it’s somewhat ingrained in his spiritual self – it runs “deep” – and should not be expected to be healed overnight.
Instead, we wish Daniel to consider himself as bit of a recovering patient, someone slowly undergoing a methodical and lengthy process of rehabilitation (including at spiritual/subtle levels). A case that requires much attention, zeal, patience, and care. If nothing else, from himself to himself.
You must not allow others to tell you that you’re slow, lazy, that you don’t take the initiative, or that “you’re not doing enough”, for example. You must not adopt any of those ideas; instead you must discard them completely. Your natural pace – as well as your personal lessons – are beyond the reach of the judgement of others. You
must also not consider yourself flawed, with a ‘problem’, or as a burden to others.
Daniel feels very frail, vulnerable, unprotected, in a rash, intense, potentially dangerous world. He feels disconnected, fearful, exposed, isolated, uncomfortable.
This relates, and plays, with his disconnection within and with the blocking of his own Essence. He has been in a mode of existence without much vitality, without energy, and without any sense of inner direction.
As I focus on this subject of health, my attention is directed into the areas of chest, and face, to the lungs and sinus, and these general areas. I feel possible issues and congestion of these areas, like general problems with colds, flue, fever, possibly also asthma. There could be some form of allergies as well.
Next, I’m shown that this situation is like when you’re in a car and you turn the key, and the engine is continuously trying to start. It feels as if the energy wants, but can’t go through. It is trying to get started; but at the moment has problems moving back and forth, up and down. It desires a flow, it desires to be set in motion, but that motion is difficult to get started.
These symptoms are simultaneously issue and healing.
I see energy work being done on your 4th to 6th chakras. This energy work is part of your spiritual awakening process, and is meant both to heal, and to re-activate the circulation, if you will, of your energy through these chakras.
The 4th chakra is the heart chakra, and deals with matters of the heart, such as your passions and your Essence.
The 6th chakra is in the forehead, between the eyes, somewhat behind them. This chakra deals with insight, vision, higher understanding. In your case, it deals with interpreting that which is abstract, implicit, subtle.
The 5th chakra is the throat chakra. It deals with communication, truth, expansion, manifesting what you want to express. It’s not just about speaking, it relates to any form of expression at all, including forms of art.
The 6th interprets abstract/spiritual information and insight; the 4th detects what of that information is important and meaningful to you. And where the two meet – the 5th – the energy is meant to be expressed, manifested. So you can see these three chakras, from the 4th to the 6th, a little as system, which processes
spiritual/abstract information and expresses it.
This system of energy has been clogged, if you will, malfunctioning, or not functioning at all. You’ve been in a state of disconnection with your true nature in many levels, only now wondering who you really are. That’s equivalent to say that these chakras have been largely dormant, closed, inactive. The energy hadn’t been
flowing through them at all.
The healing and transformation you have been receiving from your spiritual team has (also) been targeting these chakras. The health symptoms you have been feeling are both 1) the stale energy of fears and vulnerability that was accumulated, clogging the flow of energy, as it’s cleansed; and 2) and the process itself of healing and re-activation of those chakras.
This doesn’t mean you should do nothing to take care of your physical health. You must treat yourself in the physical in any way you deem adequate. This information is only meant to convey the meaning behind these situations. The ultimate purpose for the healing work described is to reactivate the mechanisms by which your
spiritual role and Essence manifest, which had been largely closed up until now.
2.6 Spiritual Role
Your role in a spiritual sense is to teach others by showing them things that are new to them. Things that they couldn’t see before. It is to make the invisible visible, to bring forth that which at that point had remained concealed, implicit, vague, and/or uncertain. Such elements can be of any nature at all, since art can deal with any realm and field: personal, social, emotional, mental, unconscious, and so forth. Art is fundamentally about bringing forth that which was there all along, but up until that point remained abstract, subtle, indefinite, uncertain.
You deal with things that no one else had been able to see, feel, or touch. Even you yourself might not be able to understand that which you want to explore and express. But it is precisely by the expression and exploration of those things that they can be known – by you and by others.
As such, your Essence intrinsically deals with what is purely abstract.
Even this very reading, for the most part, discusses ideas and patterns in an abstract sense, at the level of concept of principle. This is the case because the reading is in itself a reflection of your natural spiritual energy.
The truth is, all physical reality, all circumstances, all events, all choices, are meant solely and exclusively to manifest the abstract, so it can be experienced. All spiritual entities only ever incarnate in matter, so they can carry out the concrete exploration of their own spiritual selves, in greater detail. Physical matter is a solid, yet transient, manifestation of the abstract. Ultimately, only this abstract is real.
However, dealing with the abstract can often become a double-edged sword for the entities who do so. Entities who specialize in expressing and embodying the abstract can quite often become invisible.
The entity whose Essence is about connecting with the abstract knows that the abstract is ultimate truth about all reality. But this makes the entity experience a degree of loneliness – even in the spiritual world.
Believe it or not, the fact that the abstract is the ultimate reality is not an acquired thing in the Universe. Many entities get absorbed and seduced by matter, by their roles in games, and/or by the transient aspects of existence – thus forgetting how to focus within first. And it is, in fact, the role of the artist Soul precisely to remind others of their most subtle aspects within, through his art.
But the challenge of such Soul is always how to connect the subtle with the transient, to bring the subtle forth so that others can see it in themselves. This is Daniel’s role, challenge, and lesson as well.
What happens is that, in physical matter, this problem is usually intensified. In physical matter, individuals can become quite identified with what they can see and touch. They can grow to become very immersed in the lives they live, involved with the things they can do – and in the process losing track of the abstract, of their own spiritual nature, and why they are there to begin with.
For a spiritual entity whose role is to make the abstract visible, to express and talk about the abstract, to reveal it to others, such a task can become quite daunting and difficult, particularly when others do not validate, or aren’t able to see, that there’s such a thing as the abstract!
In matter, the importance of the abstract, and of its exploration, is often downplayed and minimized when compared to utilitarian and survival necessities. Its utility can even be put into question to its core. This would be the thought of “art isn’t useful for anything, it serves no purpose”.
The one who deals with the abstract is particularly prone to suffer from extreme lack of validation from others, lack of visibility, lack of acknowledgement. In time, he’s very prone to forget completely who he is and what he’s meant to be doing, if there is no external validation to remind himself of that – a forgetting that may span
many lifetimes, and can become very deep and very extreme.
Also a common experience is that of the lack of money, lack of abundance, lack of resources, as a by-product of the lack of acknowledgement from others in his role. Money, very generally speaking, is a by-product of the usefulness or importance a professional role is perceived to have by society.
Among other things, this would translate to the observation that many artists – particularly painters – are rarely acknowledged in their lifetime, and only ever achieve recognition after they are dead.
Daniel is particularly vulnerable to invalidation from others. He can really cancel himself out, down to his core and Essence, to what others are not able to see. So for example is his parents were business and/or practical people, and saw art as useless, then Daniel would have absorbed such belief without any filter, without
questioning at all. And in the process cancel himself, down to his core, as a result.
The challenge and lesson for the artist Soul is to trust his own art before others do. The artist must be able to validate his inner guidance, even (and especially) when others do not do so. Even while the work itself doesn’t come out imperfect or not polished, the artist must still persevere, insist, work hard, towards his art, without
giving up. Here, and only here, is where Daniel’s principle of working hard applies.
The artist’s principle of enduring and working hard is present, built-in, in Daniel. It’s just that he’s being doing so aimlessly, towards goals and achievements not of his own. And without pausing to assess what his goals should be.
The artist deals with what others can’t see. So he must not be deterred by the invalidation of others, because that will instantly derail him of his role. If he doesn’t believe what he sees within, no one else will. He deals with new things, with previously unseen things. So he must expect some kind of invalidation.
Being invalidated at times is something that must be accepted and embraced by the artist. The ability to endure, having the backbone to do that – while still remaining true to his Essence – is the artist’s challenge. That’s how the artist blends matter with the immaterial; that’s how he successfully brings the abstract into the solid.
It’s a paradox that the artist, the one who deals with the abstract, and with what is so often perceived as “futile”, is the one that has the most effort and endurance to push forward, and the most energy in matter. That’s because he needs to. Ironically, others may not have the ability to see and acknowledge his effort, and so they call him lazy and slow. You’re “not doing enough”, they say.
Daniel’s only shortcoming, in this sense and subject, is working too hard. It’s not pausing and stopping to question his current course. To learn that equilibrium between effort and pause is precisely his graduation from the first part of 5D into the second. It’s to train how to achieve a balance between effort and rest, between
the subtle, determination and passivity, pushing forward and relaxing.
Daniel should rest in the knowledge that he knows very well how to work hard. It’s just that his Soul now asks him to question how to work, where to, towards which goal – before doing so.
Due to the nature of his lessons, which is about tempering work with pause, moderating effort with intuition, Daniel will feel natural affinity – including in exploring in his art – with the thematics of combining two worlds apart, seemingly opposite. Because that’s his role as an artist, and because that’s his 5D lesson.
He’ll feel drawn to the concepts of combining, for example, the natural with the artificial, ecology with technology, the old with the new, order with liberty, the heart and the mind, thought and emotion, and so on. He’ll feel compelled with the idea of combining two seemingly contradictory and opposed fields, trying to achieve harmony and synergy between them.
This, by the way, is because it is possible to achieve harmony and cooperation between said elements of reality that appear opposing. There’s no need to choose between them. They do not need to be at war with each other, and in fact, it is part of spiritual evolution to understand how two opposing and contradictory things are part of the greater picture. Doing so is an exercise in the expansion of awareness.
However such perspective of opposition is prevalent in many individuals of human society. And that would be, precisely, the idea behind such art: to bring opposites together to the eyes and perceptions of others.
If nothing else this would be an idea, a suggestion, an pointing finger, to where Daniel could be looking, in terms of beginning to explore his own art.
Part III. The Void of Energy and Passion
As we’ve mentioned throughout the reading, Daniel is “plagued”, if you will, by a general and permanent absence of energy, vitality, enthusiasm. It is very difficult for him to understand if he likes something or not; if he feels passion for something or not; if he should invest time in doing something or not; or even when to stop, when to avoid going too far, pushing forward to achieve a final goal. The issue of discerning whether something is what he really wants of not is unclear, uncertain to him. He’ll also experience a major lack of energy and drive.
This general void of energy and indecision applies both to minor things in his everyday life, but also to major ones, namely decisions regarding professional career, projects, ventures, and so forth.
This blockage has many and complex elements, even beyond the reasons already explained. In this last section we’ll explore these elements in a bit more detail, offering healing and clarification to them.
Most of the following apply not to one single lifetime, but across the span of many lifetimes, particularly whenever Daniel decided to invest in the pursuit of a form of art, craft, or otherwise invested in something in the professional sense according with his desires and passions, in those lifetimes.
3.1 Overworking and Perfectionism
When you wouldn’t receive from others the validation you considered sufficient for a specific work – let’s say, a painting, a sculpture, for example – your immediate reaction was always to try to perfect it into oblivion. If you sensed the work wasn’t getting the reactions you wanted, you’d continue to work to perfect it (or decide to
work harder in the following work). Your instinctive response was to work more.
Your logic was this: the more perfect the work is, the more acclaim it receives. So if a work isn’t getting enough response, then it’s because it’s not good enough.
However, there’s a moment, a point, when a work of art reaches an optimal state. By “optimal” we mean the work reaches maturity and is ready to meet the vision of the audience. At this point the work is at the best beauty and quality it can possibly have, while still being able to be appreciated and validated by others.
This is the tipping point. The artist can certainly polish the work, do final adjustments, finishing touches. But if he continuously tries to alter and perfect his work much further, he’ll either deteriorate its quality, and/or leave it more perfect technically but beyond the reach of what consciousness of others can perceive. No matter how perfect it got, the piece of art is now rendered “useless” – because it can no longer be appreciated by others. It has become a sterile perfection.
Past the optimal point perfectionism becomes counter-productive, because it will distance the work from what its audience. At this point the artist will mull about what’s wrong with his work, or with others. The work took so much effort and was so perfect – yet no one can acknowledge and appreciate it.
This can lead to a circular negative pattern: the more you’d work, the less validation you received; the less validation you received, the more you’d worked as a response… and so on. Daniel would indeed push past beyond such point as he felt lack of validation from others.
Rather than investing more effort, the answer is to acknowledge when a work is done, and proceed to finish it. Then, the aim for the next one is not to make it more perfect with more effort, but to improve the overall quality with the accumulated practice. So it’s more about trusting the process of “practice makes perfect”, rather than obsessing too much about the details. It’s about a perfectionism that is balanced but not exaggerated.
Perfectionism is striving for quality, and is not necessarily a bad thing; but there’s a moment when one needs to detach from it, and just accept the final result.
3.2 Dismissing Success and Prosperity
In the past, Earth’s society has not always been particularly receptive, supportive, or acknowledging, of those who deal with the abstract and the artistic.
Certain occupations are visible, clear, straightforward. You can eat the apple grown by the farmer; you can sit on the chair made by the carpenter; you can also see the politician speaking in the podium and in the T.V.. But not always have the artists, and similar occupations dealing with what one can’t see, been validated and appreciated. All too often artists and creative types were validated only after their passing – when they weren’t around to enjoy it.
Perhaps because of these factors, perhaps due of your previous experiences as a Soul, you’ve grown to accept and expect not being validated and recognized – even as you made efforts in that sense. You assumed success wasn’t for you.
You have become accustomed to not have success as an artist.
What now follows is a bit more metaphysical.
Consciousness can only create what it can perceive. So if you place too much focus on the state of not being recognized, then you’ll almost always only experience that situation – even when your work actually merited appreciation. By focusing only on struggling, that’s all you’ll experience.
Also, you won’t be able to see, or take advantage of, any opportunities that may arise where you could receive recognition, where you could experience prosperity. You’ll actually miss opportunities for prosperity and recognition if the only thing your consciousness can conceive and expect, is precariousness.
If you place too much emphasis on the working and the effort part, that leaves little room for the other part: the part when you actually receive recognition; the part when you reap the legitimate rewards of your labour.
There are also religious beliefs, acquired in the past, that say it is selfish to want things for oneself. These beliefs do not want to indulge, do not want to allow abundance, wealth, success. They believe you’ll become corrupted, greedy, if you do. These are very pious beliefs, and according to them you should always stay poor and in a state of struggling.
There is a difference between what is ego – a selfish desire for attention – and the artist’s mission to teach.
There are two stages in the artist’s experience. The first part involves a degree of learning and training. In this part the artist is challenged with his work not being seen by others, and with the necessity to endure even facing such invalidation. He must carry on, he must push forward, thereby (1) validating his own work so that others may later see it; and (2) training how to adjust and perfect his art.
The second part is when the artist actually experiences visibility, recognition, and validation from others. This part is built upon the learning and experiences of the first. Now the artist is able to be a channel through which he can teach others, by showing them things they haven’t seen before.
The artist intuitively knows that, in order to teach, he must be in a position of being validated, acknowledged, seen. In that sense, he knows he needs the validation and acceptance of others, to succeed to any degree. While this often leaves him in a position of vulnerability – because he’s ever dependent on the opinions of others – on the other hand it’s completely legitimate for him to want, to desire, being seen by others. This is how he
knows he has achieved success in his spiritual role.
What this means, is that it is completely legitimate for you – and for any artist – to desire attention and validation from others.
“Ego” would be to deviate from your spiritual Essence in order to manipulate others to make them see you or to control them. But the desire to be seen is not ego-based. It comes from your awareness, from your own Soul, of your spiritual role. It is not negative. It is not “selfish”. It is not a “sin”. It is 100% legitimate. It is how you
teach as a Soul.
However, negating this “right to success”, if you will, will contribute to you not having it, not experiencing it. With this information we hope to offer a degree of healing to the beliefs in your Akashic Records that state “you aren’t meant to experience success”. Not only it is legitimate for you to expect so, but you need to experience it in order to ever feel fulfilled as an artist.
In practice, this pattern works as self-sabotage. It will even happen today.
When a situation begins to move beyond the effort and work stage, and begins to be more enjoyable, safe, secure, rewarding, for you; when the labour begins to yield dividends; at that moment it’s as if your connection to the situation suddenly fades, and you leave it, or dismiss it. It’s as if you can only find meaning in the process of
work and effort, but not in receiving/enjoying that which you worked for.
When this second part becomes available to you, you act almost as if something’s wrong with the situation – as if something is only good when it’s difficult. So the result ends up being that you starve yourself from all energy of fulfilment, enjoyment, pleasure, safety, and prosperity.
The answer here is simple: to recognize if a situation moved on to a stage when it requires less effort, and starts to become more enjoyable, rewarding. And then, at that point, to accept it instead of rejecting it.
It may sound slightly silly to say “you need to accept good things”. But that’s exactly the case.
The results were created by yourself, for yourself, with your labour and work. No need to reject it when it comes.
In this lifetime, and in the overall current moment in your spiritual journey as a Soul, you are prepared to experience success through expressing your art – should you choose to do so of course. You are prepared to experience, solidly, situations of prosperity. In previous lifetimes you have trained and learned sufficiently, and you accumulated situations of reward, yet to be experienced. This has in a way readied you to experience success, or in other words, to experience the second stage of the artist’s cycle of experience.
In the past you dismissed many rightful, legitimate, situations of success – but those situations, in a metaphysical sense, are never really lost. They accumulate in your energy as potentials. And they’ll always remain there, as potentials, as energy. So even if you miss opportunities of success and reward, they’ll still remain there, until you actually want to experience them, at which point they’ll be ready to come forth and manifest.
This doesn’t mean you can stay still, do nothing, and expect instant success and recognition to fall on your lap, out of nowhere. There will still be things to be done, choices to be made, work to accomplish. There’s still a portion of “first cycle” stuff for you to do in this lifetime (again, should you choose to). If nothing else, reacquaint you with your Essence; to understand what it is “yourself” in terms of art; to understand what’s your rhythm. And perhaps most importantly, for you to adjust and adapt your inner sense of art with what others want, can, and are prepared, to see. There’s perhaps a journey of adaptation to be made.
However, saying that you are ready means that much of the first-cycle work has already been done in the past. And you are now ready to reap the rewards of that labour. You are ready to experience success through your art.
Yet another reason for the big void of passion and energy in your life, is because now (in a general sense) is a time for success and prosperity, but you haven’t acknowledged it. It’s like when you’re in a room with paintings and artwork to admire, yet the light is turned off, and all you can see is black.
Because of previous point(s) already explained, you haven’t been able to acknowledge 1) your own Essence about art, and 2) your rightful entitlement to abundance and prosperity through your work – which is not only possible, but it’s actually right there, as a potential, ready for you.
Despite our explanation so far, this entitlement to success is not so much a “reward”. It’s not a carrot at the end of the stick. What it truly is, in a spiritual sense, is the right to experience the new person you have grown to become, acquired with the experiences, labour, and lessons in the past. It is the right to embody the person you trained, dreamed, and wanted to be. That is the true spiritual meaning of the experience of success. Some religious and mystical bodies of knowledge call it “Dharma”. Dharma is synonym of the potential energy of spiritual fulfilment.
3.5 Accumulation of Unfinished Situations
The previous patterns of not recognizing – and even rejecting – moments of success, in turn, lead to yet another pattern: the accumulation of unfinished situations.
In your past-lives, there were many, many situations when you’d decide to invest in a situation, to put effort in it, to work in it – particularly as an artist. But then, as the situation would reach maturity and you could start to reap dividends from it, because of your own self-sabotage, you don’t allow that situation to come to fruition. You would leave it, and/or go back and change things, and/or start over, and/or start something else. And so forth.
All situations have a beginning, a middle, and an end. But if you never experience the end part, they never have closure. They never end. They are never solved.
In situations of alignment with your Essence (when you were an artist), you worked for success but then prevent yourself from experiencing it. And spiritually you’d feel frustrated for never experiencing what you worked for. This frustration, and generally situations from the past that do not meet closure, accumulate in your spiritual energy.
Then there are other kind of situations: those that are not aligned with your Essence. In other words, when you’d heavily invest in jobs not as an artist. In this life, for example, chances are you took a high-paying, high-level office or corporate job. This might have even been somewhat related with artistry, planning, or design; but still such situations would not have aligned with you.
Since those situations were outside of your Essence, the end result will always be to scrap them. Unlike Essence situations, whose closure is success, the closure for non-Essence situations is always to give up on them. To leave them behind.
Granted, you do learn from all experiences, including those that don’t align with your Essence. You always learn from all challenges. It’s just that situations that don’t align with your Essence don’t provide the complete experience of fulfilment.
For this reason, a situation that doesn’t align with your Essence is, very literally, a waste of time. It’s a derailment of what you actually want, and were meant, to be doing. Regardless of how much time you spend in them, your spiritual self will be stuck in the same place where you left it. Waiting for you to go back to where you were – to resume being an artist.
The “bad” news is, that all the time invested in things that match who you really are, will eventually be discarded, removed – only the lessons remaining. The “good” news is, that you can resume your path of being an artist, at any time, in a metaphysical sense right in the spiritual state you left it.
This pattern is metaphysical and leads to the repeating accumulation of unsolved situations in your energy. Too many pending situations contribute to sap your energy, and keep in drained. Unsolved situations occupy energy “space”.
One thing you might experience today in your daily life, is to be overwhelmed by many situations (small of big) that are in need of attention and being solved. This is a reflection of the larger scope, of situations (big and small) from previous lifetimes.
Your energy in general tends to accumulate a lot of unsolved situations. Then, as you feel drained, you have less energy to spend on situations, leading to more situations being unresolved and accumulated. Therefore, another negative pattern.
The solution to this is practical.
When you feel overwhelmed by lots of problems and issues, one thing you could do is to list them, map them, in a piece of paper (or computer, white board, etc). Write down, in bullets, all the issues that need addressing in your life, both big and small.
Part of the confusion comes from trying to store many things at once in the abstract space of your mind (you deal with the abstract). This will have the effect of clearing your mind of all of these topics.
Then, once you list these topics, what you do is to address one topic at a time. For each topic, try to understand what’s the next step to either solve it completely, or walk towards the general direction of its ultimate solution.
Your goal is to remove these topics from the list by solving them – bringing them closure. But you shouldn’t try to solve them all at once. You shouldn’t expect to clear the list overnight – or even one topic. It’s perfectly fine if you do one thing each day, i.e. if in a certain day you do one thing to address one of the topics. But being calm and relaxed about it, as far as reasonably possible.
Physical matter, and life on Earth, are tricky and messy. They generally cannot be handled with rushing, or with the expectation of solving your life into a “pristine” state. What you want to do instead, is to work, calmly, patiently, and assertively, in your list of topics, one topic at a time.
This is the same with progressing towards your life purpose, or to a path of meaning. This reading has been mentioning frequently the word “artist”, and the word “Essence”. But what if you don’t know exactly what that means, or what you’re supposed to be doing? But what if you don’t come up yet with an idea of how to make that choice, or how to change your current life?
Much the same way, you aren’t supposed to expect the magical solution to everything. That will just bring you anxiety. What you can expect, is to receive a solution eventually; and/or to receive it in phases, in steps, over time.
The solution here is to relax and trust. That solutions exist and are on the way. To every situation there is a solution. You just need to dare asking for it. And then, be willing to make the steps in the right direction, as you feel inspired to.
3.6 Perception of Lost Opportunity
There’s one last aspect to the unbalance of absence of energy.
You had one specific lifetime in the 1600’s, during the European Renaissance. You were a noble in your thirties, and you had your portrait painted by a master painter.
In this portrait you’re standing in a proud pose (you’re turned to the left from the observer’s perspective), with very elaborate clothing, a hat with a feather, also with a moustache I believe. The kind of elaborate garments, and general “panache”, remind me of the setting of “D’artagnan and the Three Musketeers”. The noble
would be generally dressed according to this period.
I believe this was in Italy or France, or a place with a mix of these energies. There’s an energy of finesse and “refined culture” to the region. Genoa, perhaps?
The portrait might still exist today, and it might have been made by a painter whose name survived to this day and age.
But there was actually a spiritual realization you (as the noble) experienced, during the creation of the painting – as you were posing for it, during the process.
Up until that moment, you had been spending your time trying to obtain recognition through means other than your spiritual Essence. Namely as the noble, you were holding on the the image that nobility – and the dressing, and the posing – could confer to you.
This desire for visibility, deep down, we’re telling you now, was the desire to become visible through your Essence. But this desire was unsatisfied because you had completely forgotten about your Essence, and your art, for a very long time.
By a very long time, we mean since -at least- the time of ancient Atlantis (approximately 12.000 years ago or more). The truth is that, in a spiritual sense and across many lifetimes, you had nearly completely forgotten about your Essence as an Artist. This ingrained absence of awareness also adds to the lack of aim you feel today.
Perhaps you explored it here and there. The Essence is always there. The artist will forever be an artist, and be drawn to the abstract. But at the same time, and generally, there was never a serious commitment. It was never a proper, fully fledged seeking of fulfilment through art.
What happened was, that as the noble was being painted, he suddenly remembered.
This happened on a spiritual level. He didn’t think “hey, I’m going through a spiritual transformation”. It wasn’t conscious. But he did went through a realization.
What he thought, was that the painter was being much more productive, useful, and with meaning and merit, than what he himself was doing as a noble – which he felt was completely devoid of merit. His opportunities for wealth and visibility all came simply from his name, from his inherent status and family. He felt he had no merit to what he did. And he felt that the painter himself had all the merit.
Spiritually, the noble realized he wanted to have the merit of the painter. He wanted to be like the painter.
He only wanted to achieve merit through his own work, and nothing else. As I’m being shown this image, I see it from the perspective of the painter. I see the image through the eyes of the painter, without seeing him at all. I only know that the painter is portraying the noble in a canvas, making a painting. I also feel the painter himself, the figure that is sitting painting, as much bigger, much greater than the noble, and than anything else around him. He’s the biggest figure in there, as if it’s God Himself sitting and painting, almost filling the room.
The translation is this: the role of the painter is bigger than anything else. This was the noble’s perception.
He felt that the painter was more important than what he was painting. He was more important than the noble, than the clothes, than the riches. His name and work would endure – probably more than the noble’s name, wealth, or family.
To the noble, in a spiritual sense, nothing was more important than the role of the painter. This was his realization.
It was only from this lifetime onward that Daniel began to try out the role of the painter and/or artist, in further lives, in a more serious sense. Not always successfully (for the reasons we explained previously) and not always “full-time”.
But prior to this, he had, for the most part, been oblivious to his nature. And only now was he able to, at least, try to get back on track.
The complete absence of energy from Daniel, and completely missing he’s an artist, is as if an echo from this. This reading, in a nutshell, all it really is for, is to mention the word artist to Daniel, a whole lot of times.
And that’s not all.
The consciousness of people on Earth goes through cycles. During these cycles, not always are those who think and deal with the abstract properly valued and appreciated. While there are always artists, builders, and thinkers in almost every time, there are certainly times when they’re more valued compared to others.
For example, in the European Middle Ages, forms of art and those who held the expertise thereof, weren’t particularly valuable to society. They were more or less restrained to the clergy and priesthood classes, and that was it. In those days, if any Soul wanted to paint, or even so much as to write for a living, they’d have to
incarnate with the intention of going into a monastery or a religious setting – often also having to integrate the particular religious perspectives along with the artistry.
On the other hand, one of the prime examples of the cycles/peaks when those who deal with the abstract were indeed valued by consciousness of Earth, is Classical Greece. In this period and area of the globe, philosophy (abstract thinking), principles, and knowledge in general, were acknowledged and valued, as well as art – most notably in the form of sculpting.
In classical Greece some societies actively allowed for certain individuals to abstract from the basic principles of survival and “strength”, to devote themselves to the activity of thinking and teaching. The impact in consciousness was massive and everlasting. From those days the names of certain individuals still endure, ingrained
in our culture, ideas, and words: Plato, Aristotle, Socrates, hypocrisy (from Hippocrates), democracy, philosophy, and so on and so forth.
Other of such periods was the European Renaissance, where the recognition of higher-level thinking, and arts, flourished. These kinds of periods are often called “renaissance”, or “enlightenment”, because humans intuitively know they are a rebirth of sorts; they are a period when the Light is coming forth.
Artist Souls consider these kinds of periods as special. While you can always be an artist in some form or another in any time period, that doesn’t compare when society goes through these peak times. During these periods, artists, art itself, and the abstract, are especially valued and recognized. It’s like “regular periods” are normal, whereas “peak periods” almost push you to success. These periods are seen as golden ages – not just by general people and historians, but particularly by the artist Souls themselves.
Across incarnations, artist Souls actively work towards these periods. They want to be at their best when they come, so they can shine during such golden ages. Not in an egotistical sense, not for vanity; but for the opportunity to be in their spiritual role in an age that favours it.
When the noble (Daniel) had this realization, and particularly after he had passed away in that lifetime and was able to make an overview of his spiritual journey, he realized he was in the middle of one such period, which was peaking, and he was going to miss it. This is because artists do need to train and work and prepare, so they too can make the most out of peak periods. Being in the middle of such period, he wouldn’t have the time to prepare.
So not only did Daniel’s spirit realized he had spent so much time (so many lifetimes) largely out of touch with his true spiritual nature, but that he had completely missed a golden age, which was already happening. The feeling of the spiritual self was that he had failed. He felt he completely wasted his whole time on Earth, and also that he had missed an irrecoverable opportunity.
Here, Daniel’s 5D self (the lower half 5D) kicked in.
From this point on, he’s been rushing, running, pushing, making efforts, out of frustration of having missed that opportunity. It’s as if he’s working really hard to go back in time and recover what he missed. However, this anxiety reinforces the previous patterns: the harder he works, the more he exposed himself to invest in situations that aren’t of his Essence, and going too far into them, further wasting even more time and worsening his energy.
Daniel is receiving this reading at this time, not only to remind him of his Essence, but to let him know that there’s a further cycle of recognition of the abstract coming up on Earth’s consciousness. Even though he has more or less missed an opportunity during the Renaissance, he has since worked in his Essence so he can now fully enjoy, and make the most, out this new period.
We make no promises to when or how this new period will come up. This reading merely offers Daniel the opportunity to move on from missed experiences of the past, and open up to the opportunity of investing in the opportunities of the future. By being available to invest in his Essence now, he will learn how art in the “modern era” is supposed to work, and he will adapt his inner vision to it.
This new period is not one day or one week. It should span multiple years and lifetimes, much like the previous periods did. It will also coincide with the process of spiritual awakening of Earth, so it may involve to an extent the thematic of spirituality, human spirit, and metaphysics, in some way. So it will be the abstract speaking about the abstract.
It is, therefore, up to Daniel to decide (or not) to invest and commit to his own Essence, not only in the scope of this lifetime but in the context of his spiritual self, which spans beyond any lifetime, planet, or existence.