Lewis Le Val Aok Toolbox Pdf.pdf

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Welcome! Thank you for purchasing the Art Of Knowing Toolbox. This is a collection of ideas and presentations that you can begin using right away with “Art Of Knowing”.
 
 Please note; to get the most out of this ebook, you must know the method to my original Art Of Knowing routine. The instructional download video can be purchased here:

http://www.penguinmagic.com/p/7251
 
 Regarding the original method (handling), I still stand by it as the best way to perform the routine. Since its release, I have seen many other variations created by other people. Some are good, some are not so good, but the one thing that connects them all is an attempt to get

around having to perform second deals.
 
 
 The second deal, as a sleight, has become ingrained in the minds of mentalists and magicians as a fairly difficult card move. However in the context of a mentalism routine, it is not as difficult as it would be if it was used in a magic or gambling style routine. If people are not expecting sleight of hand, they won’t look for it. Society has a preconceived expectation of how playing cards would be handled by a magician. Nobody has a fixed expectation of how business cards would be handled. If you do a sloppy second deal with business cards, it does not ring alarm bells in the minds of spectators. These are business cards and if you treat them as such, nobody will have any reason to think otherwise. Nobody sees business cards and immediately thinks “tricks”. Playing cards on the other hand are fairly difficult to separate from the idea of trickery in the minds of laypeople.
 
 Another reason why I have not created my own alternative method to using second deals is because I think as artists, we must be willing to sacrifice ourselves to ourselves. We have to be

willing to put the time, effort and practice in to better ourselves. If you want to reach the temple, you must be willing to trek the jungle.
 
 One of the things I love about Art Of Knowing is the fact that it requires no gimmicks and no setup, it is completely impromptu. A lot of the alternative methods I have seen stop the routine from being impromptu, and this is something that I did not want to lose.
 
 If you have an alternative handling or method that you use that works for you, that is fine, but during the explanations in this ebook, I will assume that you are using the original method, and it is up to you to make the necessary changes to suit your handling.
 
 I will also explain each presentation as though it is being performed for three people, but of course they could also be performed for more or less than three.
 
 With that being said, let’s get stuck right in!

EFFECT
 
 Questions are written by spectators. The performer not only reveals the questions, but can also provide answers.
 
 PRESENTATION
 
 Words in italics are spoken by the performer.
 
 “I would like each of you to think about everything in your life. Bring your entire life to the front of your mind. Now I would like each of you to think of one question that you would like an answer to. Make it as simple and as clear as possible in your mind. Make sure it is something important, something that would be very useful

to you if you could receive an answer in some way. If you cannot think of a question, I would like you to think of a single word, an important one. Make it an aspect of your life that you would like some more clarity on. It could be money, ambition, travel, career, health, education, relationships, spirituality or other. When you have something in mind, please take one of these cards and write it down. Make it as clear on the paper as it is in your mind. Use as few words as possible so you have nothing but the core essence of your question. When you have done that, write your first name underneath it, as though signing a quote or a piece of art.”
 








The above script makes it clear that this must be an important question. By asking them to make it clear and using less words means that you won’t have to read an essay when you get your peek. Giving an alternative to writing a question also means that you can include everyone, even if they cannot think of a question. I like to list some keywords to give examples of words they could write if they are not going to write a question.


I have taken the words from the original MATCHES acronym and changed it to MATCHERS.
 
 M - Money
 A - Ambition
 T - Travel
 C - Career
 H - Health
 E - Education
 S - Sex
 
 I have changed them to:
 
 M - Money
 A - Ambition
 T - Travel
 C - Career
 H - Health
 E - Education
 R - Relationships
 S - Spirituality
 





The MATCHERS acronym allows you to remember some of the important aspects of our lives.


By asking them to write their name underneath, they are marking the cards for you. As long as you know their names before you begin (you should know their names if you are doing something as serious as this) you will be able to identify which card belongs to who when you get your peek. In Q&A style routines it is normal to have people write their names along with their question.
 
 The cards have been collected, mixed and handed back to you.
 
 You deal, deal, second deal (as in the original method) and continue by saying,
 
 “Our thoughts are constantly changing, every second of every day. The thoughts that you have now are entirely different from the thoughts that you had seconds ago. At any given moment, the subconscious mind receives roughly eleven million pieces of information per second, but the conscious mind can only process around forty pieces per second. That is still a huge amount of information whizzing around every second. By writing something down, it becomes fixed, and no matter how the thoughts in your head

change, the thought on the paper will remain permanent. This is necessary for the amount of focus that will be required for each of them.”
 
 This very nicely justifies having anything written down. Depending on the research, the numbers often change regarding what the subconscious receives and the conscious can process, however, the subconscious number is always in the millions, and the conscious always in the tens.
 
 Any thought reader should be aware of this. If you are having a spectator think of something while you reveal it, you have to take these variables into account.
 
 In a few moments when you get your peek, you will need a reason to stare at their card for long enough to read what is written on it.
 
 At this point in the routine, you will be left holding a stack of business cards with one of your spectator’s questions face down on top. Simply shuffle it to the bottom as you say,
 
 “On one of these cards I will draw some symbols

that are consistent throughout every society in the world. The meaning behind the symbol that you are most drawn to is what is going to help us find an answer to your question or some insight into your life.”
 
 Now, with the spectator’s card on the bottom of the stack, you can begin to draw some symbols on the card that is on top of the stack. I will list the symbols I like to draw, and later we will talk about some alternatives.
 
 I draw a heart symbolising love.
 A four leafed clover symbolising luck.
 A cross symbolising health (medical cross).
 A dollar sign symbolising wealth.
 A star symbolising future or spirituality.
 
 Now, with these drawings on top of the stack and a spectator’s card on the bottom of the stack, hold the entire stack up so that your spectator’s can see the symbols, being careful not to flash the question on the back of the stack. 
 
 “These symbols loosely represent love, luck, health, wealth and future or spirituality. They

could also mean different things depending on the individual looking at them.”
 
 As you say the above, and as your spectators are looking at the symbols, have a quick peek at the name on the question card that is on the back of the stack. Don’t bother trying to read the question just yet. Look at the name, and this will tell you which spectator to choose first.
 
 Hover your hand above the first card on the table. “Sense” who's card it is (in reality you will be saying it is the card of whoever’s name you just peeked) For example, Sandra.
 
 “Ok Sandra I feel this first card is your one. Take a look at these symbols, and I want you to point to the one that you are most drawn to. It doesn't have to have anything to do with your question, just the one that resonates the most with you.”
 
 Hold the stack slightly closer to Sandra, and now you have a perfect peek at her question on the bottom of the stack. The time it takes her to look at the symbols, choose and point to one will give you more than enough time to read her question. When you have read it and she has

chosen a symbol, place the entire stack on the first card on the table (as in the original routine).
 
 There are a few reasons for writing or drawing the symbols on the card. Firstly, it creates a point of focus for your spectators, that will allow you a much longer peek at their card.
 
 It also creates a reason as to why you are able to know and answer your spectator’s question. Whether you prefer to appear intuitive or psychological, the choosing of the symbols becomes a sort of indicator of your spectator’s thoughts or current state.
 





I used to draw some more esoteric symbols, such as runes or planetary symbols, but the problem I found with this is that unless you know a lot about those symbols, the reading becomes much more difficult. It also becomes a little more difficult if your spectator cannot relate to the symbols. As an alternative to those I listed above, you could draw some things that appear m y s t e r i o u s b u t a re s t i l l re l a t a b l e a n d understandable as symbols, such as the suits of a deck of tarot cards:


Sword Action, intellect, thoughts, direction
 Cup Emotions, feelings, abundance, connection
 Wand Inspiration, ideas, spirituality, creativity
 Pentacle Finance, material possession, gain
 
 No matter what you decide to draw, the symbol they choose indicates their current mental state, and that is what you will use to reveal and answer their question.
 
 I’ve said it in some of my other works but I will say it again here just in case. This is not about predicting the future, it is about revealing hidden aspects of the present. Answering a spectator’s question is really just about giving them a fresh perspective to view their problems from. You do not need to give them a direct, crystal clear answer. Taking inspiration from all of the oracles and seers throughout history, an answer to a person’s question is simply a narration that they can use to reflect on their question from a different perspective, and find their own answer from within.
 
 I’ve given more information on answering questions in my previous works, “21st Century Shaman” and “Pythia”, but if you have not read

those, I will provide a very simple but effective tip here. Albert Einstein famously said, “No problem can be solved from the same level of consciousness that created it”
 
 So use your spectator’s chosen symbol to reveal the question in some way, and choose a different symbol to provide them an answer from. Their question wouldn't be a question if they already had an answer. In searching for an answer, they need to look at it from a different state of being, or a different state of consciousness. You can show them that by simply talking from a symbol that is different from the one that they chose!
 
 For example, let’s say Sandra’s question was, “Will I move to Spain?”. Now we can clearly see that she wants to move to Spain. If she didn't want to, she would have asked, “Do I have to move to Spain?” This would indicate that something else in her life could be pushing her in a direction that she might not want (career, relationship, etc).
 
 


Let’s say she also pointed at the heart.


I can now begin to reveal the question through the lens of her chosen symbol. I might say,
 
 “I can sense here that whatever is on your mind is something that you feel very passionately about. Something feels as though it is calling out to you. Would I be right in saying this is something you want, but there are other things in your life that may get in the way? I feel that this is a timing sort of thing, like you are waiting for the right time to travel or move. I feel that this would be a place that you have an emotional connection to. Can you speak Spanish?”
 





So I have revealed the question through the symbol of the heart (passion and emotion) and instead of just revealing the country, I’ve asked her if she can speak the language. It is a much nicer approach, and appears as though I’m further into this than I actually am. Rather than Spain becoming the reveal, I behaved as though I got the place in my mind, then got ahead of myself and asked her a genuine question about it. If she answers with yes or no it doesn't matter, she will react because I indirectly mentioned Spain.


Now I close my eyes for a few moments, or stare intently at Sandra as I mentally choose another symbol. In this case, I will choose the dollar sign, as obviously money would be required to make this move. I can now answer by saying something like,
 
 “I feel that in order to make this move, there are some things in your life that need to be in place first. Of course follow your heart on this but don’t forget about the other aspects of your life that would play a big part in this too. I feel you will make this move once everything else is set. When there are things we want, they tend to spend a lot of time at the front of our minds and can occupy a lot of our thought. Imagine taking a photograph of your life; in the middle of the frame would be the things you want, but remember to step back far enough to see everything within the frame, and when everything is in place, when everything is smiling, then will be the time to take the picture.”
 
 
 I can’t say yes or no about her moving to Spain because I honestly don't know. What I can do is show her the situation from another perspective.

In this case, I didn't even mention money or finances, I didn't need to. All I had to do was describe the situation from the perspective of another category; a different symbol from the one she chose.
 
 I avoid giving direct answers, especially when their question concerns the future. There is a concept called the “Self Fulfilling Prophecy”. If I told her she would move to Spain, she might do so because I said it. If I told her she won’t move, she might not do, again, because I said it.
 
 Your words have the power to set things in motion, even if they don’t believe you or take you seriously. When you visit the doctor, you may leave feeling ten times better or ten times worse, simply from the doctor’s choice of words, tone of voice or even facial expressions.
 
 If you put something in someone’s mind, make sure it is not something that could unfold into a life changing occurrence. Chaos theory suggests that the smallest action has the power to change things drastically further down the line. Avoid saying anything that could set something in motion. Instead, aim to provide a fresh

perspective on the same situation.
 
 A good way to think of it is to pretend that every word you say will come true. This will help you to avoid saying anything that could change a person’s life. Even if it seems like it could be a positive thing, just don’t do it. Sandra wants to move to Spain, great! But if I tell her she will, I don’t know what her plans are. She might drop everything in her life and jump on the next flight, causing a mess in areas of her life that I don’t know about. We don’t know enough about our spectators to give them solid advice. The best thing to do is show them how they can take their own advice, or find their own answers.
 
 One more example before we move on. Bob’s question says, “Am I going to be happy?” and he points at the dollar sign.
 
 Who doesn’t want to be happy? Who doesn’t want someone else to be happy? It seems like the good thing to do would be to say yes to this, however if I do that, Bob might spend the rest of his life waiting for his happiness to come along, and miss opportunities to actually do what he needs to do to find happiness or bring it into his

life. Instead, stick within the system.
 
 I reveal Bob’s question with the dollar sign, 
 
 “I get a sense that there is something you are trying to bring into your life that will give you a sense of fulfilment. I feel that you are done waiting, and spend a lot of time thinking about what you can do next, or continue to do to bring you happiness.”
 
 Again no mention of money or finances, but the reading came from me seeing Bob trying to bring more money into his life to find happiness. I don’t need to say, “...more money will bring you happiness…” as I don't know if that is true. However, using the symbol gives me something to go off. It provides me with a direction to take the revelation in.
 
 I choose a different symbol, the heart (as it seems fitting) to provide me with a direction for the answer, 
 
 “This is all about being aware of what is currently in your life. There is no reason why you cannot bring things into your own future, but right now,

the future hasn’t happened yet. It doesn’t exist yet and you can let it become whatever you want, you create your own future. More importantly, you can decide how you are going to feel in the future. Happy or sad, the choice is yours to make. However, take a look at what you already have right now. Recognise the good things, become aware of them in your daily life and nurture them. This is the source of your true happiness and it will continue to grow.”
 
 No mention of love, passion, friends or family, but the symbol of the heart gave my answer its direction. It is basically a way of saying, “Instead of waiting for happiness, find it instead. Start with what you already have.”
 
 Sometimes, it can be a little uncomfortable for your spectator if you reveal their question in a way that will make everyone within earshot know what their question was. Through your revelation, just let your spectator recognise their question within what you say before moving on to the answer, and that is more than enough.
 
 


With practice, answering questions gets easier.


Ok! So you’ve answered the first question, you pick up the entire stack of cards and pretend to read the question, when in fact you are reading the next question and name of who wrote it!
 
 After reading the question, I like to say, “Do you feel that my answer is helpful in some way?” As I make eye contact with them, and begin the second deal. Most of the time they say yes, even if they are just acknowledging the fact that you were able to reveal the question in the first place.
 
 Do the second deal, and before handing the card directly to them, I like to put the stack of cards down onto the next card on the table (as in the orignal routine) and use both hands to fold their card in half once first before handing it to them. This is just to suggest that their writing should remain private. What they do with the card next is up to them.
 





I am now ready for the next question, which I have just read. I know who it belongs to so I hover my hand above the stack and say, “I feel this next one is yours” and point to the person who’s name and question I have just read.


I ask them to point to a symbol on that top card and begin to provide my reveal and answer in the same way that I did with the first one.
 
 I can then repeat the process of picking the stack up, reading the last question, doing the second deal, putting the stack down, folding the card and handing it to them.
 
 Now I am ready for the last spectator. They point to a symbol, and one more time, I repeat the process for them.
 
 A nice thing here is, when you get that first peek at the beginning when talking about the symbols, you do not need to repeat that same peeking process again, as after the first question, the rest of your peeks come from pretending to read the question that you have just revealed.
 
 It makes sense to hold the symbols up when you first introduce them, but logically there is no reason to do that each time. you don’t need to re-introduce the symbols, so it would make sense that you just put the stack down immediately, rather than holding them up again

for the next spectator to choose one. The moment when you held the cards up to talk about the symbols will be long forgotten. One thing I will say though is just be consistent with what you ask your spectators to do each time. Don’t ask your first spectator to point at a symbol, then ask the others to name a symbol. Even though, after you are finished with the first spectator, the cards are on the table and you are not peeking, ask your remaining spectators to point at a symbol too when it is their turn. 


EFFECT
 
 A beautiful ritual that will help your spectators unlock the thoughts required to manifest a future they strive to have. 
 
 PRESENTATION
 











For best effect, have some small envelopes with you. There will be one for each spectator, in which you will be putting their cards before handing it to them. The envelopes are optional but as you will see, this presentation is utterly beautiful if you include them.


You begin by saying, 
 
 “I would like each of you to think of something that you would like to bring into your own future. It could be absolutely anything that you want. Think of one, important thing that would bring you nothing but pure happiness if it somehow appeared in your future. Try and sum that thing up in a single word.”
 
 Hand each of them a card and ask them to write this word down. Then, above it or below it, ask them to write the word “To” followed by their first name, as though writing a gift card, for example, “To Lewis”.
 
 The cards are collected, mixed and handed to you. As in the original routine, you;
 
 Deal, deal, second deal.
 





Secretly flip the top card over, or even better, shuffle it to the bottom of the stack (this will be one of the spectator’s cards). As you do this, say,


“Now the future is a blank canvas, it does not exist yet. The only things we carry into the future are our feelings. If you continue to tell yourself that something won’t happen, or that you won’t be able to do something, then guess what? That is exactly what will happen, you will have denied yourself what you truly want. Our thoughts really do shape our physical reality. It is possible to think about lemons until your mouth waters. It is possible to think about death until you actually begin to panic. We have a natural tendency to lean towards the more negative side of things. We spend too much time thinking about ‘what if’ rather than ‘what next’. If you take control of your thoughts and aim them in a possitive direction, then physically and psychologically you will program yourself for success. Carrying positivity into the future can only bring good things, in the same way that carrying negativity into the future can only bring stress and worry. This might not be a magical fix, but the first step in creating a future you want is to give yourself the right mindset for it now.”
 
 Hold the stack of cards up as if showing them to your spectators, and get your peek on the back of the stack. There will be a single word and a

name identifying who wrote it. Continue with, 
 
 “I had you write these hopes down for a very specific reason which we will get to at the end.”
 
 Talking about the cards allows you to gesture with them, giving you enough time to get your first peek. Just be very careful not to flash the card on the bottom of the stack.
 
 Place the stack down on the first card (as in the orginal routine). You are now ready to begin.
 
 “Science has shown that consciousness exists within us and without us. Our thoughts are not only within our minds, they are also around us. We only become aware of our thoughts when we consciously choose to do so. In a similar way that silence is actually all sound, just waiting to be given a voice. One of the oldest natural human abilities is the abilty to sense the feelings and emotions of others. This shows that we are capable of ‘sending things out’ in some way. I would like you all now to visualise a future in which you actually have what you’ve written. See it, feel it! Imagine sending that out into the world so strongly that the natural forces of nature have

no choice but to acknowledge it.”
 
 Hover your hand over the stack of cards and say, “I feel this first one belongs to you” and point out whoever’s name and word you just peeked.
 
 Now you can begin to reveal their chosen word as though you can some how feel it. Don’t ask them to repeat it in their mind as you “read their mind” and find it that way. Behave as though their thoughts do exist outside of their mind and you are in tune with that. Imagine that they are generating waves that you resonate with. Begin to describe their word as a feeling, as an esence in which you feel the presence of. Don’t resort to a standard mentalism reveal, let this become something beyond normal understanding. Let your spectators witness a true moment of sacred wisdom as an ancient shamanic act is reborn. If you genuinely feel it, your spectators will too. Don’t describe a word, this is beyond words, describe a future.
 
 I will just mention, this isn’t the same as telling your spectator what their future will be. You are describing a future because it is a future that

they are imagining. This is not a prophecy. They are imagining themselves enjoying a future with something they want, all you are doing is demonstrating that you can feel the thoughts that they are sending out, and are able to describe them.
 
 After the revelation, pick up the entire stack, get your next peek as you pretend to look at their card, do the second deal, table the cards (ontop of the next card) and now put your spectator’s card in an envelope and hand it to them.
 
 Repeat this entire process with the remaining spectators. As you deal with the final spectator, behave as though you have become tired, drained by all of this energetic work (whilst still giving them the full experience). Not only does this help things to look more authentic, it also gets you out of having to repeat the routine with someone else. If they can clearly see it takes a lot out of you, they will hesitate to ask you to do it again.
 
 At the end of the routine, you will have revealed all thoughts, and each spectator is left holding an envelope with their card inside. Hand them

the pen again and ask them to write the words, “MY FUTURE” on their envelope. End by saying,
 
 “This is a gift from me that you will gift to yourself. Give yourself the gift of a future that you want and deserve.”
 
 Beautiful.
 
 You can give further instructions by saying, 
 
 “Keep this with you every day. Let it dominate your thoughts. At least once a day, take the card out and remind yourself of this gift you have given to yourself. Repeat the visualistation you did a moment ago, and truly see yourself with these things in your future. On some level, in some way, you can and will begin to define your own future.”
 








I have never had to use this next line, because the concept of this is so beautiful and so personal that nobody would ever want to ruin it for themselves, but if anyone bursts their own bubble and discredits this gift, simply say,


“You might not have any faith in this, but your subconscious mind doesn’t know the difference. The subconscous mind accepts everything, no matter how strange it may seem. It doesn’t know the difference between up and down, real and imagined, good and bad, hot and cold, black and white, logic and reason, this is the purpose of the conscious mind. This is why even the weirdest dreams feel real, because the conscious mind isn’t there to correct everything. So continue to do this, let your subconscious mind accept this as a gift for the future, and it will begin to behave as such, and that just may be the key to allowing this to manifest or appear in your future.”
 
 If a spectator has written something highly unlikely such as winning the lottery, then in your reveal of it, describe it as you seeing them inviting more money into their lives which will allow them to live comfortably. Avoid describing seeing them as winning the lottery. Then before your closing statement at the end of the routine, you could say,
 
 “Now some things are of course out of our control. Shaping your future might not cause you to win the lottery, but ask yourself, is money what

you desire, or is it happiness and comfort that you desire? Money can solve problems, and if that is what you wish to bring to your own future then there is no reason why you cannot do that, just remember that you can find comfort and happiness far quicker, and with far less money than a lottery jackpot.”
 
 This helps to keep them confident in the ritual and feeling positive with their experience, without destroying their vision of the future. This routine is more about personal development than it is about achieving the impossible.
 
 If you decide not to use envelopes, you can have them write the words “MY FUTURE” on the other side of the card, but by using the envelopes it becomes and feels more like a gift.
 
 If, like me, you use blank business cards for your Art Of Knowing routine, then already inside each of the envelopes you could have one of your actual business cards too. Of course if you use your normal business cards for the routine, then your spectator will automatically end up with your contact details and information.

EFFECT
 
 A reading which results in the reveal of your spectator’s star signs.
 
 PRESENTATION
 
 The main thing that I wanted to share here is my script. If you are not comfortable with giving simple readings, you could use my Metaphysical Alphabet, which I have included in this ebook. There are many different approaches to giving quick and easy readings. If you want something more in-depth, my ebook “Thought Theatre” is a good place to start, and my ebook “Pythia” is an entire publication dedicated to giving the most

genuine readings possible.
 I don’t often perform this routine anymore, but a lot of people love it when our routines involve astrology, so I felt that I should include it here.
 
 You begin,
 
 “When you are aware of what your star sign is, and you read things about it, you take those things and apply them to yourself because those things are supposed to be talking about you. What I am interested to see is if I do not know your star sign, can I describe what I feel about you and see if this will allow me to guess what your star sign is.”
 
 You hand a card to each spectator and ask them to write down their star sign. If they cannot spell it, it doesn’t matter, just ask them to guess the spelling.
 
 The cards are written, collected and mixed, then handed back to you. 
 
 Deal, deal, second deal.
 Shuffle the top card to the bottom then hold the stack up as you say,



 “Although I trust you, I am asking you to write them down so that I can see for myself at the end if I manage to guess correctly.”
 
 This will allow you to gesture with the cards and get your first peek.
 
 Place the stack down on top of the first card, “sense” who the first card is and turn your attention to them.
 
 You begin to give them a reading and finally, reveal their star sign. 
 
 When you pick up the stack, you get your next peek before second dealing and handing the card back to the person who wrote it.
 
 The stack goes down onto the next card and you repeat the above process with the remaining spectators.
 





How do you know which card belongs to who? This is up to you how you choose to mark the cards.


What I usually do, especially with this routine, before I hand the cards out, I draw an oval on the card for them to write their star sign in.
 
 On card number one, I do not complete the oval. I remove the pen from the card just before the oval is complete.
 
 On card number two, I complete the oval.
 
 On card number three, I complete the oval and go a little bit past it. Rather than bringing the line back to the starting point, I go a little past it, creating a small tail on the oval.
 
 This allows me to identify which card I gave to who.
 
 Alternatively, you could draw a line on card number one (for them to write on).
 
 On card number two you draw two lines, one ever so slightly under the other.

On card number three, you draw a line from left to right, do not take the pen off the paper, then draw another line back and slightly under the

first, so you have a double line but two of the ends are joined at a point.
 
 There are many things you could do. One very old idea (the origin of which I do not know) is to use pencils of three different lead hardnesses. Then you will be able to recognise who wrote what by the shade of grey of the pencil you gave them. Be careful with this method though, it is very easy to make mistakes, especially if you are peeking quickly.
 
 Now let’s talk about the readings part. You do not need to know about the traits of the star signs to do a reading here, you are reading the person, not their star sign.

METAPHYSICAL ALPHABET Originally published in my ebook “Des Fleurs”
 
 My take on an established principle. A simple system of mental cues. Providing engaging and unique content for a reading has never been easier.

I assume that you are familiar with Ken De Courcy’s Systematic Seer, and Richard Webster’s brilliant Psychometry from A - Z. What follows is my system inspired by these works. It is not a replacement for the aforementioned systems, rather a variation to compliment them and be used alongside them. Luke Jermay, Jerome Finley, Neal Scryer (and many others, I’m sure) also have fantastic variations of this system and I recommend them all.

When I provide readings, I use as much of my intuition as I can. The content for my readings comes directly from what I feel I should be saying to each person I work with. This is something that comes naturally over time, after doing numerous readings and working with

various systems. You begin to let go more and more of systems as your intuition and reading abilities strengthen. However, sometimes I just need an extra push if my reading begins to run dry, or for whatever reason my content isn’t flowing as well as I’d like. That is when I fall back on the Metaphysical Alphabet. 
 The System To use the Metaphysical Alphabet, you simply take the first three letters of your spectator’s name (as in Webster and De Courcy’s work) and each of those letters will give you a keyword from the list below.

Then all you need to do is simply explain how your spectator is like the item from the list. Describe the characteristics, good and bad, of the item from the list, as if they are the characteristics of your spectator. For example,

My spectator’s name is MIKE. I take the first three letters of his name and I get M, I, K. From the list below, this would give me Magnet, Intuition, Kaleidoscope. I can now begin to describe the characteristics of those three things

as if they are the characteristics of the spectator, and it will become a reading!

“You have an ability to attract the things you need into your life. Once you set your mind to a specific thing, in some way it seems to gravitate towards you. However, I feel that you sometimes find yourself stuck in certain situations that you cannot get out of, and it is only through the help of those close to you that you are able to find your way back to the path you wish to be on.” Magnet 
 “Those close to you will often say that you are the person they come to for advice. They feel that you are always able to understand their problems or concerns, and even if you do not have a practical solution for their problems, most of the time they just feel better about things after speaking with you.” - Intuition 
 “There are some things in your life that you feel need to change. You will only be able to make these changes by shifting your perspective, and looking at things from a different angle or point of view. You sometimes have tunnel vision which

stops you from seeing what may be happening around you, but this is ok. Staying focussed on your goals is always a good thing, just remember to take the time to see things from all angles before moving forwards.” - Kaleidoscope 
 It is also good to have a direction for each keyword to give the reading a bit of a structure. So for the first letter/keyword I talk about the person them-self, as if describing a particular aspect of their personality. 
 For the second letter I talk about how other people see them or feel about them.


For the third letter I give them some advice for the future. So it’s not a prediction about the future, it is a small piece of advice that I feel they could take. If there is one thing I’ve noticed more than anything else when doing readings, it is that people need something to take away from the reading. It is not enough for them to just listen to and be impressed by the reading. The advice is always the “money’s worth” part of the reading (even if your reading is free, they have still paid

with their time and attention). Also, if your spectator follows your advice into the future, it becomes the future. It is a much more powerful way of speaking about the future than trying to make predictions and saying whatever you want and thinking it wont matter. 
 The above example briefly shows the use of the keywords and the structure (personality, perception of others, future advice) of a reading with the Metaphysical Alphabet. Of course the readings can be much longer, and the above example only scratches the surface, but no matter how long or how detailed you choose to make your readings, just remember to describe the positive and negative traits of each keyword. Readings should be a balance of positive and negative because our lives are a balance of positive and negative. Nobody’s life is all positive or all negative, we have to deal with both whether we want to or not. It is very easy to slip into the habit of only saying positive things because we wish to keep the spectator happy and smiling, but to them, it will not feel right. It will feel like you are just trying to flatter them, and suddenly the reading falls apart. Don't forget

to mention the negatives. Don’t upset your spectator or bring them down in any way, just describe the negative traits of the keyword and you will not do any harm, and your reading will feel a lot more realistic. 
 It’s a bit like this. Let’s say I am talking to a single female friend about a single male friend I wish to introduce her to. In describing him, if I only say good, positive things, she will begin to wonder what’s wrong with him. She will become sceptical about what I am saying. However, if I give a balanced description, it feels more genuine. 
 Notice how I use the word “negative”, and not the word “bad”. You are not saying bad things about the person in the reading, you are simply including the negative traits to give a balanced reading that doesn't just sound like pure flattery.


Regarding the advice you give, I feel this goes without saying, however, I still feel that I should mention it. Never give any legal, medical, marital or financial advice. Neither should you give them

any potentially life changing decisions to make. Your advice should be more along the lines of positive, motivational guidance for them to carry into the near future. A positive outlook or a fresh perspective of their current situation should be enough, just give them something nice and helpful to think about, that will not have any drastic effects on how they live their life. 
 When giving your advice, try to avoid any direct commands, such as, “You need to do this..” or “You should be doing this...” Nobody likes being told what to do in this way, especially from a complete stranger. Who are you to tell them what they should be doing or need to do?

Instead, deliver your advice as though they are just suggestions, and not directions. Consider this brilliant child psychology tip: 
 If you tell a child “no”, they don't want to accept it. If you tell them not to do something, they will want to do it. If you tell them they can’t have something, they may kick and scream and cry. However, if you say “yes, but...” the child will feel

like the decision is theirs to make, but they will make it wisely after considering the consequences. You see, they may not even really want the thing, they just want the independence to make the decision themselves. As we get older, this doesn't go away. 
 For example:
 
 A child wants to run out and play near a busy road. If you say no, you can’t do that, it’s dangerous, etc. You will get the expected tantrum from them because you have taken their freedom away. 
 However, if you say, “Yes you can, but if you play by the road, a car might hit you and you will have to go to hospital, and that won’t be fun.” Then offer an alternative, “Why don't you play here instead?” Now the child is more likely to take the second suggestion after considering the consequences of playing in the road. 
 It doesn't matter if you have to exaggerate the consequence, (usually the younger they are, the

more exaggerated it needs to be for it to make sense to them) it is just a more effective approach than just saying no.

Child: “I wanna draw on the wall!”

Response: “You can if you want, but if you do it will ruin the house and you won’t be able to live here with us anymore.”

Child: “I want all this candy now”

Response: “You can eat it all, but if you do it will make you sick and you won’t be able to go and visit your friends later. Why don't you just have a little?” 
 The older we get, the less exaggeration we need as our understanding of the world is much greater, and our common sense is much more developed. 
 Friend: “I really want this new car. Should I buy it?” Response: “Yes of course, but is the timing right?”

As you can see, this is the same technique as above, but without the exaggeration as it is not being said to a child.

When people ask us things, most of the time they're not really seeking an actual answer, they’re looking for us to validate the answer they have already made for themselves, and when our answer opposes theirs, it creates conflict.

In the above example, obviously the person wants the car. So even if we know they can’t yet afford it (or any other reason why they shouldn't buy it), if we say no, what good can that possibly do? You can argue against facts, but it is a lot more difficult to argue against emotions. So instead, agree and empathise with the person and their emotions, then ask a question that will make them examine the facts, which will make them re-evaluate their decision. You're not looking to change their mind, you’re answering their question in the most helpful way.


So, back to what I was originally saying before I took you on a word safari, not only can this technique be used to answer questions, it can

also be used to present the advice you give during readings. Rather than telling them what to do, tell them what will happen if they do. E.g. If you want to say, “You need to change your perspective.” Re-word that as, “If you change your perspective... *insert what will happen*.” 
 
 I think you get the idea. 
 What follows is the list of words I use for the Metaphysical Alphabet, along with the definition of each one. 
 I have a little exercise for you to do. Read through the words and rather than trying to memorise each one, spend a few moments and make a mental list of three positive traits and three negative traits for each. Not only will this help you to remember the words, it will also help to condition your mind for picking words apart to use in readings. 
 For example, the first word on the list is Abstract. Spend a few moments and think of three positive traits of an Abstract, and three

negative traits. Now think about how you could voice these traits to sound like you are describing a person.

It might seem slightly difficult at first, but this technique is only a tiny (mental) muscle, and with a bit of work it will become very strong, very quickly. 
 If, during a reading you forget what word to use for a particular letter, just allow your intuition to provide you with a new word beginning with that letter instead. This is why it is good to be able to quickly, mentally pick words apart, rather than just trying to memorise a load of traits to go with a load of words.


Abstract Existing in thought or as an idea but not having a physical or concrete existence.

Relating to or denoting art that does not attempt to represent external reality, but rather seeks to achieve its effect using shapes, colours, and textures. 


Bohemian A socially unconventional person, especially one who is involved in the arts.

A person who is interested in art, music, and/or literature, and lives in a very informal way, ignoring the usually accepted ways of behaving.


 Creator

A person or thing that brings something into existence.

Someone with the creative capacity to invent things, objects, ideas, concepts. They start from a beginning rather than adopting a current idea, method or course of action.


 Daredevil










A reckless person who enjoys doing dangerous things. Reckless and daring.

Esoteric

Intended for or likely to be understood by only a small number of people with a specialised knowledge or interest.


 Fox

A carnivorous mammal of the dog family with a pointed muzzle and bushy tail, proverbial for its cunning.

A cunning, crafty or sly person. Baffle or deceive (someone).


 Gypsy

A member of a travelling people traditionally living by itinerant trade and fortune telling.

A nomadic or free-spirited person.


 Hero

A person who is admired for their courage, outstanding achievements, or noble qualities.

Intuitive

Using or based on what one feels to be true even without conscious reasoning; instinctive.


 Jigsaw

A puzzle consisting of a picture printed on cardboard or wood and cut into various pieces of different shapes that have to be fitted together.


 Kaleidoscope

A toy consisting of a tube containing mirrors and pieces of coloured glass or paper, whose reflections produce changing patterns when the tube is rotated.

A constantly changing pattern or sequence of elements.


 Lantern

A lamp with a transparent case protecting the flame, and typically having a handle by which it may be carried or hung.

Illuminates direction or path.


 Magnet

A piece of iron or other material which has its component atoms so ordered that the material exhibits properties of magnetism, such as attracting other iron-containing objects or aligning itself in an external magnetic field.

A person or thing that has a powerful attraction.


 Nocturnal

Of, relating to, or occurring in the night. A nocturnal journey, nocturnal activities.

Active at night. A nocturnal predator.


 Occult

Mystical, supernatural, or magical powers, practices, or phenomena.

Involving or relating to mystical, supernatural, or magical powers, practices, or phenomena.


 Premonition

A strong feeling that something is about to happen, especially something unpleasant.


 Quester
 One who seeks; a seeker.


 Reflection

The throwing back by a body or surface of light, heat, or sound without absorbing it.

Serious thought or consideration.


 Sceptic

A person inclined to question or doubt accepted opinions.
 An ancient or modern philosopher who denies the possibility of knowledge, or even rational belief, in some sphere.



 Tree

Represents life, prosperity, strength, growth, nature, etc.


 Urchin
 Mischievous child, imp, rascal, rogue, minx, mischief-maker, prankster.


 Vanilla

A tropical climbing orchid which has fragrant flowers and long pod- like fruit.

Having no special or extra features; ordinary or standard.


 Wagon

Relating directly to “The Chariot” tarot card.
 
 Reaching your goal, winning, being successful, dominating, determination, self-confidence, mastering emotions, showing authority.

Xenoglossy

The ability to speak a language that you’ve apparently never learnt.
 (This is a very interesting one to think about!)


 Youth

Relating directly to “The Fool” tarot card.
 
 Entering a new phase, expanding horizons, the start of something new, adventure, journey, unknown, acting on impulse.


 Zen

Japanese school of Mahayana Buddhism emphasising the value of meditation and intuition rather than ritual worship or study of scriptures. Peace, serenity, inner voice, intuition, seeing hidden talents, opening up to what you could be, seeking the hidden and unknown.




EFFECT
 
 Possibly the most intriguing presentation ever for revealing drawings, with an ancient psychometry twist.
 
 PRESENTATION
 
 I am fascinated with ancient history and prehistory. There is a huge mystery in the human timeline that inspired this presentation.
 
 “When we think of ancient people drawing on the walls of caves, we imagine them as ape-like cavemen, however, the human form as it is today reached full anatomical modernity around one

hundred and ninety five thousand (195,000) years ago. But the first clear sign of creative thought in the form of symbols or art, didn’t show up until around one hundred thousand years ago. This means that for around ninety five thousand years, human beings that looked just like you and I, with the same sized brains, were basically zombies, then suddenly out of nowhere, creative thought appeared, as though fully formed. This has been named the greatest riddle in human history. So as someone who works with thoughts and the mind, I always wonder, what gave birth to creative thought?”
 
 You hand each spectator a card.
 
 “When you go and visit some of the oldest cave paintings on the planet, by simply placing your hand over them you are indirectly connecting with the mind of another, separated by thousands of years. But in that moment, time seems to vanish. Suddenly, the earliest thoughts in human history and the most recent become one, they become connected. It really is a special feeling, and I would like to try something based on the idea of the first creative thought.

I would like each of you to take a few deep breaths and relax. Clear your conscious mind and think about nothing. Let no thoughts enter your mind once it is clear. In a moment I will ask each of you to place one hand over your heart. The moment you do that, the moment you feel the beat of life, an image will start to form in your mind. It will be something simple, childlike, without detail. It could be a symbol or a basic drawing, you won’t know until you see it, but when you do, hold it in your mind. Ok clear your mind, and place your hand on your heart… Now. That’s great, allow an image to form in your mind. Hold it in place, and then draw it on the card so you do not forget it. Once you have drawn it, it will fade from your mind.”
 
 Each spectator does their drawing. Ask them to sign it with their name too (as in the previous routines) as though signing a piece of art. This also marks the cards so you will know who drew what.
 
 The cards are collected, mixed and handed to you.

Deal, deal, second deal.
 
 Shuffle the top card to the bottom, hold the cards up to get your peek, as you say,
 
 “By drawing what you saw, that image becomes fixed in time and space, so even if you forget what it looks like, the evidence of it remains, just like the cave paintings.”
 
 You place the stack down on top of the first card on the table (peek side down, of course).
 
 “Those ancient people with their beautiful minds drawing on cave walls lived so long ago that their blood undoubtably runs through our veins. By placing your hand on your heart and allowing your subconscious mind to show you these images, you are in some way connecting to those who once were; who you once were. By doing this, you are indirectly connecting the furthest past with the nearest present, and it becomes a reminder that your ancestors, your earliest family members who you never got to meet, continue to live on through you.”

I have found that this part of the script sometimes has an emotional effect or affect on certain spectators. I think that by reminding people that they are connected by blood and spirit to these ancient people and the origin of our kind, it resonates deep within them as it feels forgotten but memorable at the same time. The thought of it creates an odd, poetic, beautiful sadness, but it is not upsetting. It has the power to bring a tear to their eyes but they cannot explain why.
 
 As you mentioned putting your hand on the cave walls earlier, and they placed their hand on their heart to recieve the image, you can place your hand on the stack to sense who the first drawing came from. Of course you know who’s it is because you peeked it.
 
 You have two options now. You could either reveal the drawing from that point, or, if you bothered to say the above script, take that spectator’s hand, look them deep within the eye (really deep, mean it more than anything) hold the eye contact for a few moments of silence, then begin to describe the drawing. As you would hold an object in psychometry to recieve

impressions, you are doing the same thing with your spectator’s hand.
 
 Then when you pick up the stack after your reveal, you have plenty of time to study the next drawing before second dealing and moving on to the next spectator.
 
 Repeat this process for the remaining spectators.
 
 Your spectators can keep their cards as a souvenir. It will mean more to them than any other card they end up with after a drawing duplication.
 
 If you really, really want an emotional kick for the end, you can prepare one of the cards by leaving enough space for a drawing, and writing the words “Your grandfather’s name:_____________” with a line for them to write on. Secretly mark the back of the card too with a nail nick or a pencil dot. Give this card to the spectator who seems to be paying the most attention. When you give everyone the instuctions of what to write, add the line, “Fill out as much of the card as you can… All the information.”

Then when all of the cards are handed back to you, give them a little shuffle and just make sure that this card is not on the bottom. 
 
 Deal, deal, second deal.
 
 The marked card should be somewhere on the table. (It will be either the first or the second if you are performing this for three people).
 
 Continue the routine as normal, but save the marked card until last. So after the first reveal and you place the stack down on the table, don’t put it on the marked card, save that one until the end.
 
 Then when you are peeking that last card, you will have a drawing and their grandfather’s name to look at. During the reveal, you can say,
 
 “This is interesting. Not only are you connecting with your ancient family members, but you are also connecting with a more recent one too. I dont know if this is your grandfather or great grandfather, but who is *insert name*?”
 
 Of course they will react and say it is their

grandfather. It sounds a bit morbid but I choose to have them write their grandfather’s name because a spectator’s grandfather is a family member who is more likely to have passed away, and as this is about connecting to those who have gone, it makes more sense that you would pick up on someone like that. There is nothing wrong with doing this, as long as you treat it with respect. It is a nice way of allowing your spectator to share happy memories of this person after the routine, alive or dead.
 
 If you wish to hide the card from other spectators, simply take the card, fold it in half and hand it to your spectator while saying, 
 
 “It is not often this happens, but when it does it is very special. Keep this and put it somewhere safe. Don’t show it to anyone and it will become your own sacred space, something to look at when you feel like you need it. You can use it to conjure memories or find comfort. Thank you.”




I hope you find something within these pages that you will find use for in your performances.
 














Some of these routines can be very powerful. In the years since Its first release (first in Diary Of A Travelling Man, then in AOK on Penguin Magic) I have developed some presentations for Art Of Knowing that suit my style and chosen path in the mystery arts. I aim to elevate my mentalism performances from the entertaining to the profound. I still do not feel I am quite where I want to be with mentalism, but I am definitely on the right path.


The world was once full of magic, now it is full of tricks. Yes AOK still uses trickery, but the experience is something else, and that is what I am chasing.
 
 In that last routine I mentioned the greatest riddle in human history. One very likely theory is that the origin of creative thought came from natural, psychedelic plants which ignited the fire within, and built a bridge between the conscious and subconscious mind. Just something to think about.
 
 Anyway, I hope you liked this project, and if you have any questions, please feel free to contact me.
 
 Much love,
 
 Lewis Le Val
 2019 (5 years after AOK)
 
 www.levalsmind.com