Tony Perez's Psychic Exercises for the Spirit Questors

A cyberspace exercise book by Tony Perez January 4, 2014 - September 17, 2014

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Sunday, February 23, 2014

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Classification: General Readership

Category: Development of Psychic Abiliites

IPR of Tony Perez

Important Notes:

This is the only legitimate, electronic version of this cyberspace book.

This cyberspace book does not exist in any other format.

This cyberspace book may not be reproduced or adapted

in part or in whole without the written or electronic permission of the author.

2014

Midnight on P. Tuazon Boulevard, Cubao

Mobile Snapshot, December 31, 2013

Introduction

This cyberspace guide was developed for the use of my students who live in places far from Cubao and are unable to come to me on a regular basis. All of the exercises in this guide are original and safe, and have been consistently tried by myself since I was a child.

None of the exercises involve "the occult". They are mainly psychological, and are both religion-free and culture-free.

I designed the exercises presented here to lead you and your family members and friends to become more sensitive, more creative, more spiritual, more mentally alert, more compassionate, and more responsible--not only as developing psychics but as intelligent human beings as well.

PRACTICE these exercises on a constant basis. Every exercise was designed to be used ALONE, BY ONESELF, and without the aid of fancy props. As I teach in all of my workshops, the world has no use for idle writers, artists, and psychics. Strive to succeed--otherwise you will be the would-be writer who knows everything about style and craft but cannot write a short story, or the would-be artist who knows everything about art history and art theory but cannot produce a painting, or, of course, the would-be psychic who read and dabbled into all kinds of psychism but cannot make it work for himself/herself.

You should work on the exercises in which you are weakest at least two hours a day. That is the equivalent of a writer producing passages of creative writing two hours a day, or an artist sketching anatomical figures two hours a day.

--Tony Perez

January 2014

Cubao, Quezon City

Philippines

Developing Psychic Vision

1) Whether you sleep with a light on or not, note that, when you are already in bed and your eyes are closed, your physical eyes are still able to see through the layers of membrane comprising your eyelids.

Close your eyes now and check this out. When the after-images of the objects in front of you have faded, you continue to see an orange haze--actually light shining through your skin and blood vessels. You should be able to see this outdoors in daytime, indoors with the lights on, outdoors at night, and indoors with the lights off.

Do the following exercises when you are fully relaxed and ready to go to sleep:

A. Maintaining The After-Image:

Focus on an object that is near you. Close your eyes and wait for the after-image to fade.

Open your eyes again and focus on the same object. Close your eyes, this time consciously willing the after-image to last as long as you can keep it there, before it fades.

Do this exercise over and over until you have determined how long you can keep an after-image before it fades.

B. Exploring Your Astral Surroundings:

Observe your surroundings, remember as many details as you can, and then close your eyes.

Keeping your eyes closed, recreate your surroundings in your mind. Just keep your mind and your vision hanging in there; do not rove round your surroundings like the lens of a camera.

Keeping your eyes closed and maintaining the visual image of your surroundings, relax and wait. Observe which details remain and which details disappear; observe also which details change place or location. This is the astral counterpart of your surroundings. The objects that remain are the objects that generate energy; the objects that disappear are the objects that are inert.

When an object changes location, know that it is because that new location is the real astral location of the object, where it is generating energy. Therefore, for example, if you placed an object on a study desk but now see it on a chair with your eyes closed, the object is astrally on the chair and not on the study desk. It is important to remember this phenomenon because spirits of the dead are almost never inside their cadavers or in the locations where their physical lives expired, and the same dis-location of energy occurs, all the time, with objects.

C. Sensing Lightning Images:

For this exercise you will need to sleep in different parts of your house on separate nights. If this is not feasible, do this exercise whenever you are traveling and staying overnight away from your home.

Close your eyes and observe the usual images: the after-images that fade, the orange haze, and--always be aware of it--the dense cluster of orange and black spots comprising active, shimmering clouds that indicate the movement of blood through your blood vessels.

Now sense whether you see lightning images--leaping streaks that look like lightning rods or laser beams that look like non-stop, dancing images in a light show. If you see them, be alerted to one of the following:

--Your body may be "tightening" because your blood pressure is rising. Change your position, take deep breaths, and calm your mind. Drink a glassful of water and go to the bathroom if you wish. Do not perform any psychic exercises for the meantime.

--The location that you are currently in contains: restless spirits; angry spirits; spirits that are at some kind of war with one another.

--The location that you are currently in was the site of a crime in which one or more than one person was killed.

Do not light a candle. It will only attract more spirits to your location, and you will either be unable to sleep or will have disturbing dreams.

D. Sensing Tornado Images:

This exercise may be performed at home or away from home.

Close your eyes and observe the usual images.

Now sense whether you see tornado images--chaotic bits of light, "TV snow", or visual static spinning like a tornado in front of your physical eyes. If you see them, be alerted this:

Your psyche is signaling your subconscious that an important message will soon be coming through.

Relax and wait for the message--it will not necessary be visual--or drift off to sleep with your dream journal and pen by your bedside and afterward record the dream or dreams that ensue.

E. Sensing Golden Drizzle:

This exercise has nothing to do with being myopic or astigmatic. It is usually done outdoors.

Try to sense, in different locations, a golden drizzle around you. At first you will think that it is actually drizzling--until you see that the "drizzle" is comprised of billions of tiny, gold particles falling from the sky to the ground.

Whenever there is this golden drizzle, it is an indication that the location you are in is being covered with an effective energy shield.

2) Drifting Off to Sleep in Preparation for Dreams:

You may teach this exercise to family members who suffer from insomnia, or who wish to sleep without medication.

A. Close your eyes and keep still in bed. If you get restless in that position, or if any part of your body begins to ache, shift your position by moving slowly to another position. It should be a position in which none of your extremities are subjected to pressure or discomfort; it is this that prevents you from falling asleep.

Relax all the muscles of your body from head to foot, taking particular note of which parts of your body you tend to tense up.

Relax especially the muscles of your face and the muscles of your jaw. Allow your jaw to slacken.

B. Keep still once again, no matter how boring you feel this is. Wipe everything off your mind until it becomes one, big blank sheet or a vacuum.

C. Allow your mind to keep a vague image of an object that interests you. In my case I think of some power object that is in my possession or an antique object that I have stowed away and have not seen for a long time. Do not contemplate the object; just allow it to hang in there. If it changes shape, very well.

D. Your mind will also hang. Allow this to happen.

E. This is the threshold of sleep. In a few seconds you will be fast asleep.

3. Using a TV in Your Room for Psychic Vision Exercises

It is advantageous to have a TV in your room. It can be used as follows:

A. Whenever you feel that there are intrusive spirits or thought-forms inside your room, turn the TV on to a cartoon channel, and leave it on as a night light. Take the audio down to a level that is subliminal enough to allow you to sleep.

You will sleep as peacefully as a baby.

B. While resting during the day, tune in to a foreign channel and put the audio on mute. Close your eyes from time to time and "guess" what image will be on the screen whenever you open your eyes.

Do this exercise frequently until you score 85/100.

4. Pushing Energy With Your Eyes

Note that, when you are playing a game of "staring down each other" with another person, you can actually sense the energy of the other's stare against your eyes, and so can the other person actually sense the energy of your star against his/her eyes. You have the same feeling, as a matter of fact, whenever someone stares at you despite the fact that you are not looking at that person and not immediately aware that you are being stared at.

Staring is a form of pushing energy with your eyes.

Try pushing energy with your eyes at a variety of objects, one at a time, and note the differences in feeling.

Does it matter that an object is light or heavy? Big or small? Flat or three-dimensional? Animate or inanimate? Indoors or outdoors? In motion or motionless? Of a certain color? Of a certain association?

Now think of a visual or verbal message, imagine it in front of you, and push it with your eyes into ether, in the direction of the person or persons you wish to receive it.

Do you have a way of affirming whether the intended recipient/s received your message? If he/she/they received your message, how long did it take before they did--almost instantly, after a few seconds, after some minutes, after some hours, after a day or night?

5. Developing Psychic Vision through Hearing

A) When talking to someone you have never seen before on the phone, merge your mind and your emotions with the person's voice and try to determine what the person looks like and where the person is.

B) When talking to someone in person--whether you know the person or not--close your eyes from time to time while listening to the person's voice. During the times when your eyes are closed, discern how different the person that you spontaneously see in your mind is from how the person physically looks like.

This exercise is especially helpful when you are conducting job interviews.

C) Eventually, when someone mentions a name, you should be able to see that person in your mind merely upon someone's mentioning the name.

A variation of this exercise is to have a name written on a piece of paper and to focus gently on the name, in order to acquire an image of that person.

6. Developing Psychic Vision through Touch

A) Take a box of crayons and peel the wrapper off each crayon.

Take one crayon at a time in your hands and explore how the color feels to the touch. You should note distinct differences in texture especially with yellow, pink, orange, red, blue, green, black, and white.

Blindfold yourself and take one crayon at a time in your hands. Try to identify each color correctly by means of touch.

Be forewarned that violet and its various hues and shades (purple, lavender, plum, lilac, among others) is the color most difficult to identify.

B) Cut at least 12, six-inch lengths of yarn of different colors. Taking one strand of yarn at a time in your hands, do the same with the strands as you did with the crayons in the previous exercise.

Introduction to Scrying

Scryers typically use crystal balls, black discs, bowls of water, tiles, goblets of wine, cups of coffee, even inkwells. Each of these stimuli simply provide a surface on which to scry on. It is possible to scry, therefore, on anything: a wall, a plate, a piece of cardboard or paper, a bed sheet, the leg of a pair of pants.

Aside from the scryer and the stimulus, a third, important, factor must be present--a source of light. Hence a lit candle (between the scryer and the stimulus), a lantern, a torch or flashlight, an adjustable reading light. (A ceiling light won't do because it cannot be located between the scryer and the stimulus.)

The light must intervene between your normal eyesight and the clarity of your perception of the stimulus by shining across the lenses of your eyes and casting a sheet of light on the lenses of your eyes. This sheet of light therefore acts as an intangible filter, so that you see the surface of the stimulus as fuzzy, or in defocus.

1. Place a reading light between you and your bedroom wall. The light must be to your left and at the level of your eyes and shining toward you, not toward the wall. With the light shining sideways through the lenses of your eyes, you should see the wall as a dark or obscure shape. The mass therefore ceases to be a surface and becomes an abyss.

A) Relax and continue gazing at the wall. You will notice--due to the fluids and dust motes on your eyeballs and the pulsation of blood through your blood vessels--the appearance of clouds, swirls of mist, even spots of color. Allow these to happen--it is all physiological and psychological.

B) Through constant practice, you will be able to discern shapes on the abyss, differences in depth, and, eventually, movement. Again it is all psychological; your psyche is projecting images on the abyss, so that you are, in fact, subconsciosuly visualizing with your eyes open.

C) Continue scrying in this manner on a regular basis. Begin with simple objectives such as to see images of a day or an event that is impending, taking care not to consciously create the images. It does not matter whether your imagination or your subconscious is producing the images; whether the images are being sent to you from an external source; or whether the images are literal, metaphoric, or precognitive.

What matters is that, after you have learned to let go of your defenses and can allow things to happen without any apprehensions, whatever you see is a truthful product, because you are in a state of truth. Only at that point can you tell yourself that you are actually scrying.

2. Determine how your mind searches for visual information.

Study the method by which your mind searches for photos in an electronic album. How does your mind instinctively search for them? By faces? By colors? By shapes? By associations with related items? By emotions?

Now focus on a scrying surface and allow your mind to go through the same method of searching for images, and wait for the predominant images that you see or sense on the surface.

Switch to focusing on the scrying surface without being conscious of your mind's method of searching for images. Do not anticipate seeing anything in particular. Wait for the predominant image or images that you see or sense on the surface.

Repeat this exercise as frequently as possible, until you are very comfortable with it.

Developing Psychic Hearing

1) Floor Tapping

Always have a clean, floor mat to lie on, inside your room. Set aside 30 minutes a day or a night to lie on the mat with one ear to the floor. Listen to your surroundings. If you hear footsteps, what kind of footsteps? Are the feet bare, in slippers, or shod? What kind of personality comes to your mind by the sound of someone's footsteps alone?

Cast your auditory net wider to hear sounds, through the floor, that are farther away. Go beyond sounds produced by electrical appliances. Qualify those sounds.

Know that animals are sensitive to the arrival of earthquakes and volcanic eruptions because their ears are close to the earth.

Always shift from your right ear to your left ear from time to time.

2) Spend another 30 minutes merely listening to all sounds combined through the floor. This is the music of the earth. Use it, rather than music or percussion instruments, to go to an altered state of consciousness.

3) Matching Images with Voices on TV

While watching TV, tune in to an unfamiliar channel, close your eyes, and listen attentively to the voices of people on TV whose identities you do not know. Without engaging your imagination, allow your mind to match the voices with images. Open your eyes to affirm whether the images on the TV screen match the images that you saw in your mind.

It is all right if what you see in your mind are non-human or surreal. In such cases, interpret the images that you see in the same manner that you interpet your dream images afterward, taking care to identify possible, pscyhological bridges between the voices and significant episodes from your childhood.

4) Matching Voices with Images on TV

While watching TV, tune in to an unfamiliar channel and place the audio on Mute. Allow your mind to match the people on TV with qualities of voice (low-pitched, high-pitched, musical, non-musical, warm, cold, pleasant to you, unpleasant to you, and so on). Un-Mute to affirm whether the voices match the voices that you heard in your mind.

As in Exercise #3, it is all right if what you heard in your mind are non-human or dissonant. Analyze why the visual stimuli brought about associations of non-human or dissonant voices or sounds, taking care to identify possible, psychological bridges between the people you saw on TV and significant episodes from your childhood.

5) Ether Tapping

If your bedroom or den is near a place from where you can hear passersby whom you cannot identify, pay attention to conversations and voices while you are resting.

A. Allow your mind to match each voice with a face, body height, body weight, and clothing.

B. Allow your mind to complete the incomplete sentences that you hear.

C. Allow your mind to complete the incomplete conversations that you hear.

D. If the voices that you hear happen to refer to another person who is not there, allow you mind to see that person also, replete with face, body height, body weight, and clothing.

E. Allow your mind to show you where the passersby are going, and what they will be doing upon reaching their destination.

For this exercise it is not necessary to come out from your bedroom to obtain affirmations.

6) Sound Questions

Push your mind to the limit by frequently asking yourself apparently-unlikely questions such as: What is the sound of the color blue? What is the sound of the color red? What is the sound of a fading flower? What is the sound of a tree in stillness? What is the sound of a triangle? What is the sound of a square? What is the sound of anger? What is the sound of ecstasy? What is the sound of a potato? What is the sound of an orange?

In each instance, patiently wait for your mind to provide an answer.

7) Conversing with an Inanimate Object

There should be nothing alarming about this exercise. It is frequently used by playwrights to develop dialogue between characters.

Choose a toy or any representational figure to use in this exercise. Begin a conversation with the toy or figure. After you speak, listen to the toy's or figure's response in your mind, being careful not to consciously create or imagine the response. Simply wait and listen to the response that ensues.

You may record the results of this exercises if you wish.

8. Conversing with an Abstraction

After you have become comfortable with the previous exercise, choose a figure least likely to give responses when conversed with, such as: an abstract painting, a word in a book, a candy bar, a crack in the wall, or the piece of sky you see from your window.

Do the same as in the previous exercise.

9. Conversing with a Person Who Is Not There

Now think of a person--alive or deceased--who is not in the room and do the same.

10. Conversing with A Spirit Guide

Whoever or whatever your spirit guides may be, first allow an image of one of your guides to surface in your mind without your consciously creating it. It is immaterial whether or not you know who your spirit guides are and whether or not you know what their names are.

If not image arises in your mind, proceed as with the previous exercise anyway.

11. Listening Within Atmospheric Sound

It is not necessary to have a percussion instrument or a CD and CD player to do this exercise. Simply focus on a neutral, atmospheric, sound in your environment--examples of these are the hum of a fluorescent light ballast, the whirr of spinning blades of an electric fan, the steady drone of an air-conditioner, the drumming of rain on rooftops if the weather allows it, the trill of cicada wings rubbing against each other, the roar of ocean waves if you happen to be near the ocean, among others.

Place your consciousness above the sound. Then, merge your consciousness with the sound. Then, descend from your conscious level to your subconscious and unconscious levels, to the extent that you can.

Continue merging with the sound, and patiently wait.

Three things will happen:

--Since there are "voices" in your unconscious--possible from a previous lifetime, from from your childhood, from your immediate past, from your current aspirations, even from your future--one or more "voice" will rise above the rest in order to be heard. Listen and remember.

--Your imagination will reflexively create "voices" of facets of your personality, or "voices" of personifications of them. Again, listen and remember.

--You will be able to hear the "voices" of Nature and Nature beings. Once again, listen and remember.

--If there are urgent messages from "other" beings, they will now be sure to come in. Yet again, listen and remember.

12. Listening Above The Din

This exercise is typically done in a noisy, crowded place such as a train carriage, a packed restaurant, or a party.

It may help, at first, to close your eyes and merge with the din that surrounds you. However, you should be able to eventually do this with your eyes open.

After merging with the din, allow it to overpower you. Reflect on how you are feeling. Reflect on what your psyche is currently urging you to do.

Listen to "the voice of the din," and interpret what its message of the moment is. What does the din remind you of? Were you in a similar situation, or in similar situations, before? Do you think that something wonderful will happen? Something dreadful, instead? Where is the din leading to?

Now listen above the din and check whether there are urgent messages from "other" beings, because they will now be sure to come in.

Listen and remember.

Note: This exercise can be done only in places such as those mentioned above, where the sources of sounds are live and simultaneously generating spontaneous and unpredictable energy and emotions. It cannot be done in mechanically contrived situations such as turning up the volume of a TV set or music player.

13. Listening Within Silence

Now place yourself in a situation that will allow you complete solitude and silence. You may be in any position you want; you may even be lying in bed prior to falling asleep.

What are you feeling? Does silence make you comfortable or uincomfortable? Why? What memories, associations, or emotions rise to the surface whenever you are surrounded by silence?

What are the sounds of silence? What are the voices of silence? What is its dominant voice at this moment? What is the voice telling you?

Now listen within the silence and check whether there are urgent messages from "other" beings, because they will now be sure to come in.

Listen and remember.

14. Being Sensitive to Superimpositions and Patterns

Always be aware of two different songs or melodies that can actually be superimposed or sung together.

Examples:

"Cherish" and "Precious"

"Little Green Apples" and "Honey"

"I Can Fly" and "Winter Wonderland"

This will develop your ability to sense, identify, read, and interpret patterns.

Once you've developed your psychic abilities to a sufficient extent, you will quickly realize that sound is not only the most tangible and visual psychic image--it has the most potent healing effects as well.

15. Keeping Your Ears On While Dozing

Do this in situations where you are free and safe to doze off, such as in a secure waiting area or on an airplane.

First, practice and learn the technique of drifting off to sleep while consciously keeping your sense of hearing attuned to your environment--an ability that most animals have. It might help if you tell yourself in your mind, before dozing off, that you are able to leave your ears on like live microphones even as your consciousness gently descends below the wakeful state. It is pretty much like slowly submerging yourself below astral water in an astral bathtub while maintaining the grip of your hands on the rim of the bathtub. It can be done, and all you have to do is try it repeatedly.

Upon waking from your nap, make a list of everything you heard or everything that transpired around you while you were dozing.

Developing Psychic Feeling

1) Working with Modeling Clay

A. Invest in a box of modeling clay. Take a simple object in your hands and, using your sense of touch, go over the object while contemplating it. Remember that your entire skin is an organ in itself, and that your sense of touch is not restricted to the pads of your fingers--it includes your palms, the back of your hands, and other parts of your skin surface in general.

B. Set the object aside. Blindfold yourself and, with modeling clay, recreate the object. While you are doing so, activate your sensory recall of the object when it was in your hands.

C. Compare the clay object with the original object.

Were you able to achieve:

--The size/dimensions of the original object?

--The exact shape of the original object?

--The "character" of the original object?

Do this exercise as frequently as you can; it is therapeutic as well.

Doing this exercise as often you can will ensure that the ability to perceive things through feeling will be embedded in your skin cells.

2) Inner Touch

Physical touch is not restricted to the tactile sensations on your skin, which is the largest organ in your body.

A. From time to time, be aware of what you are feeling under your skin, i.e., on the reverse side of your skin.

B. Also try to sense, and be aware of, how your internal organs are feeling.

C. When imbibing water, do so slowly. Avoid gulping down the water as though your gullet were a well and your stomach the bottom of the well.

When imbibing water, visualize the water spreading through your entire body, including your extremities and your brain. Visualize yourself being one with water, with rivers and oceans, and partaking of their ancient wisdom.

3) Sensing and Observing Clouds of Emotion

When a person is overcome with any strong emotion, that emotion is exuded by his physical and astral bodies, rises, and becomes an invisible energy cloud. Two things might happen: the cloud will eventually dissipate and vanish--or the cloud will merge with another cloud and become a bigger, denser, stronger cloud.

Sometimes a cloud will merge with even more, similar, clouds from other people. The growing cloud then travels and engulfs yet other people, until the emotion is so strong that it can push people to stage a rebellion.

Note and observe the newspaper headlines everyday for a month; they will show you which clouds are traveling and which directions they are taking. You will find that there is a cloud trend: a shooting incident will occur one day and will be followed by others the next several days; bank robberies will occur in series; the number of motor accidents will escalate.

It is possible to bust or dispel such clouds, which I will show in a separate exercise.

For the meantime, study cloud trends. More importantly, know that the best emotions to exude are love and joy, for they are the only clouds that should travel across your home, your neighborhood, your country, and your world.

4) Study someone else's notes, scribbles, or doodles, but obtain that person's permission for you to do so first. Know that whenever you read a phrase that someone else has writte, you read the rest of his/her unwritten thoughts as well.

Try to complete each phrase, or add to each sentence, what the person would have written to complete or interpolate it. Determine what the person's emotion and state of mind were in when he/she was writing down that phrase or sentence.

This is a good exercise in exploring the intangible in the service of exploring the tangible. Practice makes perfect. You should eventually be able to touch the person's face or clothing merely by accessing that person's thoughts.

Developing Psychic Smell

The olfactory is the most neglected sense of the urban psychic, yet it is an important tool, carried over to modern times, from the time of the primitive hunters and trackers. Always use a cologne that you like; you use it not to please others but as a base scent from which your subconscious can distinguish other scents.

The base scent recedes to your subconscious because of two factors: it wears off during the day; and you get used to it.

Never attempt to use your natural odor as your base scent--it is almost indistinguishable to you.

By using a base scent, you will be able to smell other people's fear, lust, anger, shame, grief, and joy, among other passions.

1. Distinguishing Scents of Other People's Sweat

Be more consciously aware of how other people's sweat smells like, keeping several points in mind:

--No two people sweat alike.

--A person's sweat depends on what he/she previously ingested.

--A person's sweat depends on what time of day or night it is.

--A person's sweat is characterized by his/her present emotion or mood.

2. Distinguishing the Scents of Soap, Shampoo, and Deodorant on Other People's Bodies

This exercise is more effective when you happen to be in a foreign country for two reasons:

--In a foreign country the climate, utensils, building materials, cleaning solutions, cooking ingredients, and cooking oils combine to create smells that are completely different from what you have become accustomed to in your home country. As such, during a simple activity such as walking down a street, smells wafting out from coffee shops, restaurants, shops, and hotels will tend to be different and more pronounced. The spices in Manila and in Singapore will tend to smell alike, but those in Ubud, Bali and in Melbourne, Australia will not. So will the smell of laundry, particularly bedsheets.

--In a foreign country you feel more alone, more insecure, more defensive, and more deprived, so that your primal, animals instincts take over, primarily your sense of smell.

In a foreign country the smell of soap, shampoo, or deodorant on a person's body can be detected even if that person is 20 feet away from you.

In your home country you can have fun distinguishing the brands of soap, shampoo, and deodorant different people use. The exercise can be challenging because there is no one soap and no one shampoo and no one deodorant that reacts to all bodies the same way, precisely because no two people sweat alike.

3. Distinguishing Odors of Gaseous Emissions

Unpleasant as this exercise may seem to be, gaseous emissions, including those indicating deterioration, decomposition, and decay are part of life.

Surely you are capable of doing this. You can already instinctively tell, for instance, whether ordure is human or animal, whether something that smells rotten is from the land or from the sea, or whether the pungent odor of urine is male or female.

If something stinks, regard yourself as a psychological detective and regard what you are smelling as a psychological clue.

Gaseous emissions can be used to determine, through constant practice:

--what someone ingested

--someone's emotion

--whether someone is healthy or sick

--what a person is sick of, if that person is sick

4. Create A Palette of Aromas, Scents, and Odors

Note that the general, psychological impact of the word "aromas" refers to solid and liquid food; that of "scents" perfume or pleasant, natural smells in one's environment; that of "odors," unpleasant ones.

You may actually use a clean, artist's palette for this exercise. Write down as many smells you have experienced and recognized on little pieces of adhesive paper. Stick them round the palette from "light" to "dark." Remember that the olfactory also occurs on the metaphysical level; hence it is possible to smell emotions, abstractions, and the intangible.

Next, see if you can associate each smell with a particular color of your choice. This last step creates a conduit between your psychic smell and psychic vision.

Developing Psychic Taste

Developing your sense of psychic taste has four objectives:

--Amplifying your sense of taste to achieve a sense of aftertaste

--Improving your sensory recall to summon an aftertaste

--Associating taste and aftertaste with specific psychological states

--Predicting the outcome of a situation based on the sense of taste

1) Immediate Recall

After ingesting something, even if you have washed it down with water, determine whether your mouth can still taste what you have ingested:

--after 30 minutes

--after an hour

--after three hours

2) Late Recall

Upon waking up in the morning, determine whether your mouth can still taste what you ingested the previous night.

If you had a dream and you remember the dream, ask yourself what the dream tasted like.

If you had a dream and you cannot remember the dream, explore the taste in your mouth and make an effort to recall the dream based on the aftertaste of the dream in your mouth.

3) Tasting Parts of Your Body

After showering and in private, run your tongue along the following parts of your body and explore the different tastes and sensations of those body parts on your tongue: your fingers, your hands, your forearms, your arms, and your knees, for they are the most accessible.

Explore the different tastes of those body parts especially when you are undergoing different emotions, such as love, anger, joy, sadness, and fear. However, do not contrive those emotions to accomplish this exercise.

4) Tasting The Unlikely

Raise your sense of taste to a metaphysical level by frequently asking yourself questions such as: What is the taste of victory? What is the taste of defeat? What is the taste of embarrassment? What is the taste of envy? What is the taste of frustration?

What is the taste of piety? What is the taste of irreverence?

What is the taste of midnight? What is the taste of a spectacular sunset? What is the taste of a hurricane? What is the taste of an earthquake?

Developing the Use of Power Words and Phrases

You do not choose power words or phrases; they choose you. That is because spoken words, especially names, have energy configurations that may or may not be compatible with your own energy body. It is quite pointless, therefore, to select power words or phrases for your personal use on the basis that they work for other people. As a general rule your power words or phrases should be unique to you.

How to Test Whether Power Words or Phrases Work for You:

1. You will have to memorize the entire passage.

2. Practice reciting the passage under your breath--audible only to yourself even if others can see your lips move.

3. Recite the passage while ascending a staircase.

If, at the top of the staircase, you feel weak and drained of energy, then the passage works for you.

Go down the staircase again and ascend it while thinking of mundane matters. This time around, at the top of the staircase, you should not feel weak and drained of energy because you did not recite the passage while ascending the staircase.

Note, therefore, that the recitation or vibration of power words or phrases deplete your energy, which is why we should value the blessing of silence.

Exercises in Expanding The Astral Body

1) Holding In The Moment

Whenever you experience a flash (a psychic memory, a precognitive thought, a visual image, a sudden emotion), hold in the moment by becoming aware of how all parts of your body feel (from head to toe) and then how all parts of your internal organs feel.

Do not rush the exploration even if the flash passes and you think you "lose" it.

After mastering this exercise, you will be able to retrieve flashes by means of sensory recall, i.e., by sensing in the reverse, at any time.

2) Amplifying the Body Tingle

When you are alone, note that you sometimes experience a tingle that engulfs your entire body, as though your flesh and inner organs are convulsing in a wave of fever. This is equivalent to a body orgasm; at its height there is the sensation of drowning. People usually dismiss this feeling and dispel it by rising, walking about, and engrossing themselves with focused activities.

Rather than dispel it, wallow in it and encourage it to last as long as it can. Try to master it by being able to summon the feeling at will. This is the same tingle that the body experiences prior to astral travel.

3) Mental Conception and Action

Human behavior always occurs in invisbile patterns.

Anything that you do or conceive, whether for the first time or not, will have the likelihood of being repeated by someone else--no matter how far from or how near to you that person is, and no matter whether it happens soon or in the near future.

When you do or conceive something, you open and fortify an astral gate.

When you masturbate and fantasize about a rape, for instance, that rape will not only actually occur--you will eventually read about it in the news.

4) Briefly Entering Someone Else's Energy Body

Sit on a seat recently vacated by another person. That person, however, should have been sitting there for 15 minutes or more. You will be able to access briefly how that person was feeling and what that person was thinking--simply suspend your own feelings and thoughts and quickly explore the energy body that the person briefly left behind (it will soon dissipate and will be replaced with your own energy body).

You should be duly warned, however, that when someone else's energy body contains viruses on the astral level that will soon manifest as physical illnesses (such as a cold or a fever), that energy body is contagious. This is the reason why, in a public vehicle, a passenger will hesitate to immediately take the seat of a co-passenger who vacated it.

But, worry not. Simply be selective about the person who vacated a seat. Choose a relative whom you know, for example, a person whom you love, a teacher, or a master.

Keep in mind, also, that this works only if you assume the exact body position of the person who vacated the seat, which will ensure that your energy centers are in the same alignment.

Important Precaution: If you enter another person's astral body for too long, your own astral body may take on the illnesses, dysfunctions, and residual karma of that person.

Exercises in Time Contraction and Time Expansion

1) Introductory Exercises

One wishes to contract time when engaged in something that is not enjoyable (for some, being at the workplace or in school), and expand time when engaged in something that is enjoyable.

Here are two exercises that you can do:

A. Contracting Time

To contract an entire work week, divide up the week into three "days": Monday-Tuesday (first day), Wednesday-Thursday (second day), and Friday (third and last day prior to the weekend).

At the end of Tuesday, tell yourself, "The first day of the week is over." At the end of Thursday, tell yourself, "The second day of the week is over." On Friday, tell yourself, "It's Friday, the third and last day of the work week."

B. Expanding Time

To expand a weekend, divide the days of the weekend into several units:

First half of Saturday morning

Second half of Saturday morning

Saturday lunch

First half of Saturday afternoon

Second half of Saturday afternoon

Saturday supper

First half of Saturday evening

Second half of Saturday evening

(It is assumed that you will retire to bed after this.)

First half of Sunday morning

Second half of Sunday morning

Sunday lunch

First half of Sunday afternoon

Second half of Sunday afternoon

Sunday supper

First half of Sunday evening

Second half of Sunday evening

(It is assumed that you will retire to bed after this.)

In this manner, your weekend will be comprised of 16 units, which you may consider as 16 "days".

After the first half of Saturday morning, tell yourself, "I still have half of Saturday morning to enjoy" or "I still have 15 'days' in my weekend."

2) Expanding and Contracting Dimensionality, Expanding and Contracting Time

A. Expanding Dimensionality, Expanding Time

--Imagine yourself walking leisurely round the interior of a ground-floor building, all the way from walking into the entrance through walking out an exit or walking back to the entrance and out that way. Imagine yourself walking round the rooms within--perhaps a candy store, and then a stationery store, and then a clothes store, and so on--returning every now and then to the main corridor and walking on.

Remind yourself that as you travel in space, you travel in time. This is how you spend a time frame, such as a month; a week; a day; a morning, afternoon, or night; or an hour.

Conceive of your passage in time, therefore, as a metaphoric passage in space, even while remaining in one location.

--Now imagine that there is a staircase to a second floor within the same building. Ascend the staircase and explore the second floor, imagining yourself walking round the rooms within--perhaps a coffee shop, and then an Internet cafe, and then a toy store, and so on--returning every now and then to the main corridor and walking on.

At the same time, remind yourself of where you are in relation to all the rooms and corridors on the ground floor. For example, "I am inside the second-floor coffee shop. The coffee shop is on top of the ground-floor candy store. I am now walking back into the main corridor of the second floor, which is directly on top of the main corridor of the ground floor."

--Do the same while imagining a third floor, and a fourth, fifth, and sixth floor, and so on, for as many floors as you can conceptualize while also being able to retain all of your imaginary information.

This is, as a matter of fact, how you exist in space--on multiple dimensions, whether or not you are ambulatory.

This is also how you exist in the time--you are therefore capable of accomplishing tasks on multiple dimensions as well.

B. Contracting Dimensionality, Contracting Time

Do all of the previous exercises. This time around, however, render all the floors and walls of the building translucent or invisible, so that you are able to see everything--above and below you--all at the same time.

In order to successfully contract time, imagine yourself walking faster through the building.

3) Existing and Operating on Multilevels

A. Welcoming Interruptions

Engage in an activity that requires focus, such as counting (money, beads, peanuts in a bowl), drawing or painting, or reading, and then ask someone to deliberately interrupt you by making distracting movements or conversing with you. Rather than be annoyed or frustrated, relax and make an effort to continue what you are doing efficiently, effectively, and accurately.

B. Performing Two Simultaneous Activities

Try to read a book and recite something else that you've memorized at the same time, or talking with someone on the telephone while carrying on a different conversation with someone else beside you, or savoring something you are eating while enjoying a show on TV. Be sure that you fully experience both simultaneously and not in alternation.

Once you are able to master this exercise, you will understand why hand-knitters are able to work smoothly while watching TV or doing other things while hand-knitting--while they are engaged in a non-hand-knitting activity, a part of their brain continues counting stitches and focusing on hand-knitting.

You will also understand how composers are able to arrange symphonies while listening to different musical instruments simultaneously playing music in their minds, and how playwrights are able to create dialogue for one character while being aware of what his/her other characters onstage are thinking and doing, and how novelists really write all of their chapters at the same time because they already know their work from beginning to end.

C. You should eventually be able to do three, and then a maximum of four, activities at the same time. Never forget that everything that you should be doing whatever you are doing efficiently, effectively, and accurately.

D. Intermediary Exercise: Amplifying All Powers of Observation While Performing An Everyday Activity That Demands Focus on One Sense

You can do this intermediary exercise while performing everyday tasks that demand focus on one sense, e.g., taking a shower (touch), watching a movie (sight), listening to the news (hearing), choosing between two types of cologne (smell), and eating several differently-centered chocolate bonbons one after another (taste).

You may use for this exercise, for example, being seated at an ordinary meal, whether in a restaurant or at home, an activity that demands focus primarily on taste, and secondarily on sight, smell, and touch.

While eating, be vividly aware not only of your sense of taste (the food in your mouth) but of your sense of sight (what you see on your fork, on your plate, on the table, and beyond the table--do you have company? are you opposite a door or a window? what is the dominant color of the walls? what are the lighting fixtures in the room?), your sense of smell (what is the aroma of the food on your fork? are there different aromas emanating from the food on your plate and other food on the table? are there other scents, such those of perfume, pomade, lotion, flowers, fabric, and detergent that you can access from where you are seated?), your sense of touch (what is the flatware made of, and how does it feel in your hands? what is the texture of each mouthful of food that you take in? what is the texture of each sip of beverage that you take in? how does your body feel, pressed upon a chair and upon the floor?), and your sense of hearing (what do you hear aside from the normal sounds associated with eating a meal? if there is someone with you, is that person conversing with you? if there are other persons who are not engaged in conversation with you, what are the different sounds they are making? can you hear music? is there any appliance near you that is making a sound or more than one sound?)

Afterward, go beyond your physical senses and push your powers of observation to the limits. For example:

--Taste: What would the paper or fabric napkin taste like if you put it in your mouth? What would your food taste like if you dashed it with unusual spices? Are you able to taste an emotion (or several emotions) while you are eating your food?

--Sight: How would the room look like in total darkness? Are there different sources of lights and shadows (bounced light) other than the light fixtures, the windows, and the doors? How would the room look like if the things inside it were located or arranged differently?

--Smell: When smelling your food, what memory associations arise in your consciousness? What other smells, in turn, do those associations conjure? What does a dining chair smell like? What does a ceiling light smell like?

--Touch: Does your food feel heavy, or does your food feel light? Does your beverage feel "heavy" in your mouth, or does it feel "light"? When you are eating, what is the sensation of touch that you enjoy most (for instance, folding and unfolding a napkin? putting your fingers round a glass filled with ice? feeling the heat from your food rising up to your face?)?

--Hearing: What do you hear outside the walls of the room? If silent companions could speak out their thoughts, what would these thoughts be? Can you hear the passage of food through your gullet and into your stomach?

4) Expanding Limited Time to Enable You to Meet a Deadline

Use the following exercises to increase your productivity rather than procrastinate and then rush to meet a deadline:

A. First Preliminary Exercise:

Set a period of time (one hour, two hours, or three hours) within which to do this exercise.

Select two tasks to accomplish--for example, writing a letter and making a pencil sketch of an object.

Switch from one task to the other after 15-minute periods, i.e., work on the letter after 15 minutes and then work on the sketch for another 15 minutes, and then back to work on the letter, and so on.

You will discover that you will be able to finish the letter faster than usual and the sketch also faster than usual, rather than had you finished the letter first and then finished the sketch after (or had you finished the sketch first and finished the letter after) because your energy in accomplishing one task feeds your energy in accomplishing the other task and vice-versa.

B. Second Preliminary Exercise:

Do Preliminary Exercise A with similar tasks, e.g. writing a letter and writing a poem or sketching an object with a pencil and making a pastel drawing.

C. Third Preliminary Exercise:

Do Preliminary Exercise A with highly diverse tasks, e.g. writing a letter and rehearsing a song or a dance.

D. Fourth Preliminary Exercise:

Do Exercises A through C while lengthening the amount of time you spend on each task, i.e., from 15 minutes to 30 minutes, for example.

Note: Always lengthen the allotted time, never shorten it.

5. Catching the Last Second Before the Actual Minute: Reinforcing Awareness and Alertness Using the Environment to Expand Time

You need an instrument that tells or measures time for this exercise.

Wait for the penultimate second before a minute changes to the next. During the last second before the minute changes to the next, heighten all of your senses to absorb everything in your environment.

Then close your eyes and do a methodical recall of everything that transpired in the environment within that final second.

6. Catching the Last Second Before the Actual Minute: Reinforcing Awareness and Alertness Using the Inner Self to Expand Time.

You need an instrument that tells or measures time for this exercise.

Wait for the penultimate second before a minute changes to the next. During the last second before the minute changes to the next, heighten all of your senses to absorb everything within yourself--physiological, emotional, and mental.

Then close your eyes and do a methodical recall of everything that transpired in your inner self within that final second.

7. Stopping and Watching Time Passing By: Inducing the Mental Capability for Time Expansion

A) Center yourself, still your mind, and patiently and literally watch time passing by: the slow passage of cast shadows as the earth revolves round the sun, flowers breathing, fallen leaves fading, drops of water drying up and vanishing off a surface, the trekking of ants and other insects, cigarette smoke rising and dispersing in the air.

B) Watch a sunset. Heighten all your physical senses and experience the sunset. Be in the moment from the time the sun sets until it gives way completely to dusk.

8. Stopping and Watching Time Passing By: Inducing the Mental Capability for Time Contraction

Watch a sunset in a mirror. Heighten all your physical senses and experience the sunset. Be in the moment from the time the sun sets until it gives way completely to dusk.

While watching the sunset in a mirror, imagine yourself aging in reverse and looking and feeling as you did at a younger age.

All The Senses Together

1. Awakening Memory Stored in Your Cells

Do not do this exercise with your eyes closed.

Envision yourself as a clear, glass container. Focus on each one of your physical senses, one at a time, and attune the sense to your environment. While doing so, imagine every stimulus in your environment being placed inside yourself (the glass container). Then imagine the glass container tilting and rotating, so that the contents of the container swirl round in any direction.

During the swirling, attune your consciousness to the feelings, associations, and memories that surface in your mind. Write down everything you can remember afterward. If you are able to determine which stimulus triggered which feeling, association, and memory, so much the better. You can use the stimulus, or a similar stimulus, to achieve a desired, similar, state of consciousness in the future.

2. Always Good News

Tune in to a news program on TV. Set a limited time, such as five minutes, within which you can focus on the screen and be able to remember as much as you can: the broadcasters and what they were wearing; the set; the featured new; the screen signage and logos; the secondary news blurbs; the public service announcements; the sports blurbs; the current exchange; the temperature in different regions; the traffic advisory; the time.

Turn off the TV and write down as many details as you remember.

Do this exercise as frequently as you can.

3. Mass Transit

Note that, after you have taken a public vehicle and have arrived at your destination, you tend to immediately forget who your co-passengers were and what they looked like. This is due, in part, to the inculcation of "proper manners"; we are usually taught that it is impolite to stare at others and look them in the eye--which, on the other hand, makes it easier for thieves and pickpockets to victimize us.

"Proper manners" notwithstanding, my advice will always be: observe everything and remember everything, especially the people you are with inside a public vehicle.

Some questions to ask yourself while you are doing so: What colors are they wearing? Who do they remind you of? What do you think they are feeling? Where do you think they are going?

Astral Travel

1) Astral Travel While Dreaming:

One involuntarily travels "out of one's body" while dreaming. To dispel your fear of this concept, know that one can also be "out of one's body" while watching a movie or TV, reading a book, or visiting a Web site--since the mental body "enters doors" into other realms, the emotional body can go with it as well. When on astral travel while dreaming, the conscious mind is not in control, pretty much in the same way that it is not in control of dreams that do not involve astral travel.

I will not discuss lucid dreaming here, since there are many available sources on the subject that you can refer to. If you are a lucid dreamer, however, you can be in control of your participation in dreams that involve astral travel.

A. Your psyche will always provide you with a unique body signal prior to your astral travel.

In my case, my body signal is a prickling sensation all over my forearms, hands, and fingers. I learned, at the age 21, to recognize this signal while sleeping, so that, when it occurs, I automatically raise my arms before my eyes in my dream and wait for my forehead, hands, and fingers to glow like golden-yellow, lanterns, as though I were wearing long, luminescent gloves.

B. Your first experience of astral travel may be the opposite of what you expect.

Rather than rise, you will roll over and sink into your bedroom floor, which can be a terrifying experience. But, worry not. You will not descend to the center of the earth. You will land softly, without gravity, on the location your psyche leads you to. This is proof that astral travel is not always linear, directional, or two-dimensional; the astral realm is like cyberspace: you can follow linear messages on a flat screen or go to any Web site that is not up, down, left, or right.

C. Your succeeding dreams will be all about keeping your body off the ground. You will dream about jumping and trying to keep yourself two feet above the ground. You will dream about floating. You will dream about attempting to fly without wings.

In all of these dreams you will feel that your body is dead weight.

In all of these dreams keep practicing remaining above the ground. You will get better and better each time. keep on trying until, in your dreams, you are able to float as high as rooftops and treetops.

It is advisable not to eat or drink anything before sleeping.

D. You will eventually dream that you are rising from your body and actually hitting the ceiling of your bedroom. Do not attempt to wake up. With your hands, explore the texture of the ceiling. You will actually feel it.

Sometimes this is as far as this kind of dream will take you. Other times,

E. you will go through the ceiling or wall and float away from your house.

F. you will travel laterally, i.e., sideways from your bed, through the walls of your house, into the street, and through the walls of houses and buildings. Once in a while your psyche will make you stop to see locations and witness scenes that are significant or worth remembering.

G. Finally, you will be able to travel above streets. Whenever you encounter people who are living, they will not see or hear you no matter how much you call out to them, try to attract their attention, or even hit them with your limbs. Whenever you encounter people who are not living, you will be able to stop and converse with them.

2) Astral Travel While In The Conscious State:

In actuality, all astral travel is done in the conscious state since, even while you are dreaming, you are lucidly dreaming.

Know that it is possible to do astral travel in the conscious state, in the service of amplifying your psychic abilities, only if all of your psychic senses are active to some degree.

A. Astral Travel through Space

i) Think of a person who is not visible to you at the moment--for instance, if you are at home, think of a family member who is at school or at work. Relax, focus on the person, and visualize traveling to where that person is. You may go through the same visual process that you experience when dreaming, paying special attention to body cues.

Remember everything that you see, whether literally or symbolically.

What is the person feeling? What is the person doing? Is the person alone, with someone else, or with other people?

If you will see this person later in the day, try to validate what you saw with what the person actually was doing at the time that you astral-traveled to him or her.

This exercise is especially helpful when trying to locate missing persons.

ii) Taking the same preparatory steps, travel to a commercial center or shop and go window-shopping. Be mindful of sales persons, display windows, and the layout of items.

Note that whatever items appear to be bright gold or shining are items that are beckoning you to purchase them. (You needn't do so.)

Later, if you have a chance to actually go to the commercial center or shop, validate what you saw while astral-traveling with what you actually see when you physically get there.

iii) Focus on a house across your house. Go inside the house astrally and explore it. Who are the people inside the house? What are they wearing? What are they feeling? What are they doing? What are they saying? If a TV is on, what is on the screen?

Since it would be rude and intrusive to try and validate what you saw with the persons in the house across yours, simply be satisfied with whatever information you were able to gather.

B. Astral Travel through Time

i) Hold an old photo in your hands. Go back in time to the exact moment when the photo was taken.

What circumstances surround this photo?

ii) Do the same with:

--a piece of old clothing

--a piece of heirloom jewelry

--an object made of metal or wood

iii) Do the same with an antique object.

These exercises are useful in reconstructing past events or histories.

Working With Wands

1) Orienting the Body to Horizontals, Verticals, Diagonals, and Cross-Diagonals

This exercise is akin to a draftsman working with a T-square and a set angle in order to obtain a true horizontal and a true vertical.

You will need two wands and a full-length mirror in front of you, preferably in open space such as a rehearsal studio.

A. Holding one wand in your left hand and the other in the right, undergo a series of body movements while keeping the wands horizontal to the floor at all times.

B. Do the same, keeping the wands vertical to the floor.

Master A and B until you are able to keep the wands horizontal and vertical automatically without referring to a mirror.

Always keep in mind that horizontals are for the cardinal directions and the quarter directions, which is why I advise you to always have a pocket compass handy.

Verticals entail pointing in two directions: toward the sky above you and toward the core of the earth.

C. Do the same, working with diagonals and cross-diagonals (wands crossed).

A wand is a wand. It is a weapon and an instrument in and of itself. It should not be perceived as an extension of one's hand or one's will, no more than a rifle, a pistol, a bow and arrow, or a dagger should be.

Unlike a firing weapon that must be steadily held in place in order for its user to achieve perfect aim, a wand should not be held in place too long. This is the reason you are encouraged to practice wielding wands with precise, martial-arts movements--it is at that split-second in position when it releases its energy. The movement and the effect must be as quick and as accurate as those of an artist's marking a dot at its exact spot on a sheet of paper where it should be placed and nowhere else. Indeed, I even practice with a laser pointer.

There are wands and there are wands, from actual staves to two-feet wands to palm-size wands to pendant wands no longer than a toothpick. You must find your wand as you find your other, special possessions. Go with what works best for you. Experiment with the entire range available, from the crudest shamanic wands to the most ornate and Merlinesque.

You use your wand to:

--direct energy.

--direct emotions.

--strike a person or an object with intangible force.

--stir ether.

--shatter or dissipate negativity.

--generate positivity.

--send forth a spell.

--block an attack.

--repel illness.

Adapting Ancient Methods As Tools for Developing Psychic Abilities

1) Make an effort to master the I-Ching. It is tedious--even pretentious--to use yarrow sticks, and so settle for the fiberglass dice that are available.

2) Make an effort to master the Celtic runes, with a difference--use two sets rather than one: one set on light stones, such as crystal quartz tumblestones, the other on dark stones, such as jet. Mix both sets in a single container.

3) If you are Asian, supplement your battery of oracles with the Oracle of Chuko Kung Ming/Chuoko Liong. It is truly timeless. I have a Tagalog translation of it in one of my cyberspace books; search for it on http://tonyperezphilippines.blogspot.com.

4) If you are Asian, go with the Chinese horoscope rather than the Western one.

5) Make an effort to master the Native North American power animals, or the Zuni fetishes.

6) It is all right to use traditional objects such as Tarot cards and crystal balls, as long as you are aware that you are, essentially, psychically scanning your subject while merely using the objects merely as visual and tactile stimuli. It is all right to derive pleasure and satisfaction from the use of such objects.

7) Traditional objects are typically used to get you in the right mindset and in the right mood.

8) Remember at all times that the real power is within you and not in the tangible things that you possess.

A Psychic's Reflections

The exercises in this cyberspace manual allow you to make constant use of your physical and psychic senses. In order to be a complete and integrated individual, however, you must also activate other, albeit idiomatic, "senses" in your daily life: common sense, esthetic sense, and a mature sense of judgment, among others. Deny yourself nothing as long as what you have on hand it is good.

The practice of magic is not so much the control of the environment and the elements as it is the ability to move in consonance with the environment and the elements. The environment and the elements then become your allies rather than your opponents.

All too often, the physical body is neglected in the practice of psychism and magic, whereas, it is the most effective conduit for processing information.

A psychic's/mage's bedroom and bed play great roles in his/her inner development. The bedroom is an inner sanctum; the bed, a frequently-traveled bridge from waking life to the dream world, and from weariness to rest.

Finally and most importantly, as a psychic never speak as though your voice were the voice of God. The world is filled with writers, artists, and followers of every vocation and inclination, including psychics. Your voice is only one of many, and such were the voices on the Tower of Babel, which sought to reach heaven both physically and spiritually. In the end, everything rests with God, Who not only has the power to create but the power to destroy.

About The Author

Photo by Voltaire Estrada, 2013

TONY PEREZ is a creative writer, playwright, poet, lyricist, painter, portraitist, fiber artist, and psychic journalist and trainer. He is one of the 100 Filipino recipients of the 1898-1998 Centennial Artists Awards of the Cultural Center of the Philippines. His other awards include the 13 Artists of the Philippines, the Gawad Pambansang Alagad ni Balagtas from the Writers Union of the Philippines, four National Book Awards from the Manila Critics Circle, a FAMAS Award for Best Story, five prizes from the Cultural Center of the Philippines Playwriting Contest, the National Fellowship for Drama from the Creative Writing Center of the University of the Philippines, the Irwin Chair in Creative Writing from Ateneo de Manila University, and a prize in photography from the Children’s Museum and Library, Inc. He was a member of the first official Philippine delegation to the Ubud Writers and Readers Festival in Bali, sponsored by the National Commission for Culture and the Arts, in 2010.

Some of Mr. Perez’s works in Filipino have been translated into English, French, and Polish. His artworks have been showcased in 21 individual and group exhibits curated by Marian Pastor Roces, Nonon Padilla, Bobi Villanueva, Judy Sibayan, Lalyn Buncab, Nilo Ilarde, Ernie Patricio and Jun Veloso, Chari Elinzano, Reverend Father Loy Divino (CICM), and Raven Villanueva.

Mr. Perez holds an A.B. in Communication and a Cand. M.A. in Clinical Psychology from Ateneo de Manila University, an M.A. in Religious Studies, magna cum laude, from Maryhill School of Theology in New Manila, and certificates in Publication Design and Production from the Department of Journalism at the University of Wisconsin and Fundamentals of Graphic Design from the University of California at San Francisco. His master’s thesis, titled Pagsubok sa Ilang: Ikaapat na Mukha ni Satanas, was awarded the National Book Award for Theology and Religion by the Manila Critics Circle in 2006.

In 2013, Mr. Perez decided to post all of his new and old works in cyberspace so that they could be available not only to Filipinos but to the entire world. Mr. Perez has been working as a full-time Cultural Affairs Specialist at the Public Affairs Section of the Embassy of the U.S.A. in Manila since 1979. He conducts workshops titled “Writing from The Heart”, “Writing from The Creative Unconscious”, “Dramatherapy”, “Community Theater”, and art classes nationwide.

Mr. Perez has two sons, Nelson I. Miranda and Chito I. Miranda, and four granddaughters, Angelique Pearl Miranda, Nielsen Tegelan, Aubrey Rose Miranda, and Chevy Keith Miranda. His daughters-in-law are Agnes Tegelan and Ivy Vercasion. They live in Cubao, Quezon City, where Mr. P

rez has resided since 1955.

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