The first stage of conscious transmutation

Italian version

In the previous paragraph about transferring consciousness, we provided a list of necessary prerequisites for the successful development of the practice, as well as an understanding of the transfer process and the objectives to aim for. It is now time to apply these teachings by practising consciousness transfer towards inanimate objects.

Why focus on inanimate objects? According to Bardon’s teachings – as always dedicated to a sequence of practices that take place according to a progressive logic – starting with plants, animals, or humans does not adequately prepare for the transmutation process. When working with a living entity, we tend to project our own experiences onto it and interpret its meaning based on our experiences. However, with an inanimate object, it’s easier to approach it without preconceptions or false projections. This allows us to “listen” to the object and see it in its proper form, free from the signs inherent in conscious human experience.

At first, the depersonalisation process might appear frightening, but it’s a crucial step in preparing for handling more challenging transfers to living beings. By focusing on the object’s pure form and structure, we can seek to understand its significance within the universal consciousness that encompasses everything. As our perceptions are limited, transferring our consciousness allows us to transcend our limitations and access experiences that would otherwise be unavailable to us.

The most significant challenge is understanding how an inanimate object can accommodate the experiencer’s awareness. The inadequacy of language when it comes to certain concepts is what is misleading. As explained in the introductory post, transferring consciousness does not mean displacing in space but adapting awareness to a different form. Repeated practice makes one feel less attached to their own body and more to the object they identify with. It is not about being imprisoned in a casing like the “Genie in a bottle,” but rather an identification process that enables us to become “similar” to the target object.

Let’s put what we’ve learned into practice:

  • Get comfortable in your preferred position and select one or more objects to have in front of you. Alternatively, you can choose to work with just one object. When you feel ready, you may move on to others, but it is unnecessary now. Choosing something simple, such as a pencil, is recommended for this exercise.
  • Try focusing on the pencil and taking in as much detail as possible; the exercise is similar to visual concentration in this initial stage. Then, close your eyes and envision yourself transforming into the pencil. Feel yourself develop in length; feel your pointed end and the opposite end with a rubber. Externally, you are the colour of the pencil; internally, you are wooden with a graphite core (obviously, you have to adapt the description to the chosen object). Bardon does not specify whether to keep your eyes open or closed, but closing them may make this exercise easier, especially for beginners.
  • After becoming accustomed to the feeling of being the object, it’s essential to examine its connection to its surroundings, such as the table or surface it’s resting on, other nearby objects, and the room or area where it is located. It’s crucial to take a reversed viewpoint and contemplate the environment from the object’s perspective in order to strengthen the similarity process.
  • Try to identify yourself as much as possible in the perception of shape, size and relationship with external objects; the degree to which you lose perception of your physical body will indicate how successful your practice is. Aim to maintain this state for at least five minutes before transitioning to a new focus if time permits.