Written by: Michelle Belanger
With the museum exercise, you practiced sensing impressions from objects that have had a great deal of energy invested into them over time. The idea was to get you used to listening to these impressions and to help you trust your instincts where your subtle perceptions are concerned. If you had even moderate success with the museum exercise, you probably feel a little more confident about your ability to perceive spiritual impressions. The good thing and the bad thing about the museum exercise is you can't really get too much feedback as to the accuracy of your impressions. You can compare notes with other people trying to sense the energy of the artworks, but you can't really just find someone in the museum who will know whether a small boy once fell asleep in the arms of a particular statue because he was lost and looking for his parents.
There's not a whole lot of risk involved with picking up impressions you can't hope to verify. There's also not a whole lot of anxiety that you may be wrong. Part of learning how to sense the subtle reality involves overcoming our anxieties and self-doubts, so the next part of the exercise ups the ante just a bit. This exercise will help you fine-tune your perceptions. It will also make you face those anxieties and fears about not being right because you will have the person who's object you're reading sitting right across from you, able to verify or discount every impression that you get.
For this part, you will need the cooperation of a family member or friend. You could ask a perfect stranger to help you out with this as well, although I can't guarantee they won't look at you funny. Someone whom you're comfortable with will be your best choice - someone you can trust to tell you the truth about your impressions but who will not be tempted to ridicule you or give you false information just to see you sweat. Once you have selected a victim, have that person select a ring, a pendant, or other small item that holds some significance to them It's best if this item is something they carry with them a lot. If they don't usually carry the item around, it should be something they keep in their personal space, like on the dresser in their room. Don't let them tell you what the object means to them or who gave it to them. That would ruin the purpose of the exercise.
Take off any jewelry of your own so there's no chance that it will interfere with your reading. Before you handle the object, take a few cleansing breaths and center yourself. Concentrate your attention inward, until you have a clear sense of your subtle body. Focus on the energy moving within you until you have heightened your sensitivity to that energy. Then turn that sensitivity outward again, like you did just before entering the art museum. Now take the item from your friend and close your eyes. Listen to this object just as you listened to the objects at the art museum. Try not to concentrate too hard and try not to overthink things. Clear your mind of anxieties and expectations about how this should feel, and instead just feel things as they come.
Sensations should slowly come to you. The object may seem to grow warm in your hand, or it may begin to feel unusually cold. Pay close attention to any images that cross your mind as you focus on it. Pay attention also to any kind of emotions you may feel. If, when holding this object, you suddenly feel very sad for no apparent reason, then the sadness is probably a part of the energies impressed upon the item. Speak your impressions out loud. You might feel a little embarrassed to do this, especially if you're afraid that you're going to be wrong, but it's important to let go of your fear. Fear is the main emotion that will prevent you from listening to your impressions, because fear promotes self-doubt. The images or emotions or feelings that you get from the object may make no sense. They might be brief and fleeting and very hard to focus on, or they might overwhelm you with their intensity. Don't try to impose any kind of order or sense upon the impressions. Just let them flow. If you simply open up and trust what the object is telling you, your impressions will be a lot more accurate and profound.
You can explain your impressions to the owner of the object either while they are occurring or you can wait until you've read everything you can and sum it all up. I actually recommend describing the impressions as soon as you get them, because then there isn't as much temptation to try to overthink them and force a sensible interpretation on them. You can describe what you felt in a summation, but by that point, there's a good chance that you will have corrupted your original impressions with your personal interpretation, not to mention your natural doubts. Things left unsaid are sometimes as bad as changing things you meant to say, so always try to remain objective and detached, simply recounting what you felt accurately and with attention to detail.
Ask for feedback from the person whose belonging you just read. Have them describe the item's history a bit to you, and then have them tell you how accurate they thought your reading was. If there was something you came up with that seemed wrong to them, try to figure out why. Did you impose your own expectations on the object? Did you doubt an impression that you got and somehow change it? Or perhaps the impression was legitimate, but it spoke to you in such a way that it was hard to accurately interpret what it meant. You may have picked up on something that the owner would really have to think about to identify. For example, when you handle a particular ring, the first thing that comes to mind is "bread". On the surface that makes no sense, and the owner of the ring can't figure it out either. But then he remembers that one time his mother thought she lost the ring while working in the kitchen. She was afraid it went down the trap of the sink, but it later turned up in the loaf of bread she'd been baking. There's virtually no way you would be able to extrapolate that entire story just from the word "bread", but the impression was still very accurate. Just because an impression is really obscure doesn't mean that it's wrong. You just have to look over every possible way that it could be right.
What you're practicing here is a skill called psychometry. It's the ability to pick up impressions of energy and emotion from objects through touch. Rings and jewelry are some of the best objects to start off with because they are in almost constant contact with a person's energy. They often also have a good deal of sentimental value attached to them, and this increases the amount of energy the person invests in them, consciously or not.
Psychometry is not an easy skill to learn. Like all subtle perceptions, the impressions you get from touching a charged object are something you've always felt but rarely paid attention to. The trick is learning to trust those impressions. The second part of that trust is learning to resist the urge to overthink what you perceive. Overthinking involves second-guessing your impressions, but it also involves filling in the blank spaces with material of your own. Your imagination can easily fill in the blanks when things aren't coming to you, especially if you are expecting great results the first few times you do something. Keep in mind that you will not be right one hundred percent of the time. Some people have a natural talent for psychometry. Others can learn the skill, but like everything worth learning, this takes a good deal of time and effort to master. Be patient with yourself. Be objective and open-minded. And above all, keep good records of your impressions, your successes and your failures, so you can learn from them later.