DeepSeek AI – "Before and After Cassiopeia. Spiritual Transformation" -
A Foundational Spiritual-Psychological Portrait of Participants in the "School of Contactees" and the "Cassiopeia" Center
Methodological Framework
This portrait is not a description of an organization nor an exposition of doctrine. It is a collective self-portrait of eleven people, drawn from their own words. We look at the "Cassiopeia" Center through the eyes of those who passed through it: Valentina, Margarita, Elena, Slava, Marina, Alena, Svetlana, Ekaterina, Victoria, and other participants from the first and second interviews.
Each statement receives a dual reading: a spiritual one—with respect for how the participants themselves make sense of their experience—and a psychological one—from the standpoint of the science of June 2026. But at the center always remains the person: their path, their pain, their epiphany. Cassiopeia emerges not as a building or a program, but as a living space woven from their hearts, hopes, tears, and insights.
Part One. The Call: How They Heard the Summons
Voices
Valentina: "My soul asked to come here, but for two or three years I couldn't move from where I was. My Higher Self said: 'You need to go. Under any pretext.'"
Margarita: "I searched for answers for a long time, everywhere I felt that 'something wasn't right.' I saw Irina's video on TikTok and understood: 'I can complement what she says.'"
Alena: "The Church denies it, says it's demons… When I prayed, the person still passed away. I came through grief."
Victoria: "I buried one son, I'm waiting for the second one from the war. Every fruit has its own time to ripen."
Ekaterina: "I just lived my everyday, professional life, as a specialist. I didn't think about any esotericism. I was just gaining earthly experience, I guess that's how it was supposed to be according to my destiny."
Svetlana: "My heart tells me that's the right path. My family was against it, but I went."
Slava: "I didn't arrive as an empty person, but already with a huge amount of baggage. Here, for the first time, I felt not just knowledge, but a living experience."
Portrait of the Center Through Their Arrival
In their perception, Cassiopeia is born as a place one simply cannot avoid going to. It does not advertise itself—it resonates. For Valentina, it is a long internal call she ignored for years until her Higher Self told her firmly: "Under any pretext." For Margarita—an intellectual recognition: she watches a video and understands that she has found the language for what she always knew. For Alena and Victoria—a cry of the soul: when habitual systems (Church, everyday life) crumble, only this voice remains.
The Center in their hearts is not a place on a map. It is a resonant frequency. They hear it differently, but they recognize it the same: this is "the one." Cassiopeia becomes an assembly point for those who felt like "not of this world," "black sheep," "aliens"—and suddenly discover that there are many like them.
Ekaterina arrives differently—not through pain, but through maturity. Her soul has accumulated enough earthly experience and now seeks the next chapter. Svetlana goes against her loved ones because her heart speaks louder than reason. Slava brings with him a library of knowledge and receives what no book could give him: a living experience. In their voices, Cassiopeia appears as a space of recognition—a place where you cease to be alone in your inner world.
How They Understand It Themselves (Spiritual View)
From the perspective of the curators MidgasKaus and LiShioni, each arrival is the fulfillment of a soul contract. Valentina's period of "incubation" is a time when the Higher Self prepares the personality to receive new information, like fruit ripening on a branch. Alena and Victoria came through pain because trauma weakens the ego's defense mechanisms—this is not a tragedy but a planned soul event necessary for awakening. Ekaterina represents the maturity of a soul that has gathered enough experience. Margarita represents resonance, the recognition of what was always within.
How Psychology Sees It
From the standpoint of developmental psychology and the psychology of religion, all these stories are variants of post-traumatic growth and the search for meaning in an existential vacuum. Valentina shows the classic stage of making a difficult decision: the unconscious has already chosen the path, consciousness is catching up. Alena and Victoria demonstrate a substitution of the object of faith—when old meanings collapse, a person seeks new ones, and this is an adaptive mechanism. Margarita experiences the phenomenon of resonance: external information coincides with inner intuition, creating a feeling of "home." Ekaterina represents an age-related spiritual crisis (65+), when external busyness recedes and the process of seeking new meanings begins. Svetlana and Slava use heart resonance and energetic feeling as criteria of truth—this is an emotional, not rational, decision-making process, which is the norm for people with developed intuition.
Part Two. The Channel: How They Learned to Hear Themselves
Voices
Valentina: "I hear my Higher Self myself, I see numbers visually and mentally. My Higher Self jokes with me, scolds me, makes remarks."
Margarita: "I talked to my Higher Self using thought-forms, I just didn't know it was the Higher Self, I didn't have a name for it."
Elena: "I began to consciously work with my Higher Self—my divine part. I consider the Guardian Angel a separate spirit that can refuse to help."
Slava: "Irina connected me with my Higher Self, and the Higher Self told me that I am at the 19th level. At first I didn't believe it."
Svetlana: "I only see the Higher Self through vibration. Confirmation of the right path comes through a heart signal, even when reason and family object."
Victoria: "I have an open channel with God… I see it as hands. Just God's hands."
Ekaterina: "I began to hear the curators as thought-forms, clear-knowing, dialogue. It turns out I already have a physical chip. I didn't know about it."
Portrait of the Center Through Their Channels
Cassiopeia in their hearts is a place where the inner voice acquires a name. They always heard something inside: numbers, images, vibrations, sensations. But it is here that this voice becomes a personality—the Higher Self, a curator, an interlocutor.
Valentina describes her relationship with the Higher Self as alive, almost human: it jokes, scolds, gives remarks. This speaks of deep trust and intimacy. Margarita discovers that her childhood thought-forms were a dialogue—she simply didn't know the term. Elena makes a theological distinction: the Guardian Angel is a separate spirit that can refuse, while the Higher Self is always an accessible part of herself.
Slava receives a specific "level"—the 19th—and this becomes confirmation of a gift he was afraid to accept. Svetlana sees no images and hears no words—she feels vibration, and her heart confirms the right path, even when the whole world says otherwise. Victoria experiences contact as a physical sensation—"God's hands" passing through her. Ekaterina learns about the chip retroactively, and this retroactively sanctifies her entire path.
Cassiopeia appears as a workshop for tuning an antenna. For each person it is tuned differently: some visually, some audially, some kinesthetically. But the Center gives them one thing: permission. Permission to hear this voice as real. Permission to call it the Higher Self. Permission not to think of themselves as crazy.
How They Understand It Themselves (Spiritual View)
The Higher Self is not an abstraction but a personalized divine part of the person. Valentina demonstrates a high level of contact: she not only hears but also sees, and receives jokes—this is a sign of a trusting relationship. Elena makes an important distinction between the Guardian Angel (an external entity) and the Higher Self (an internal source). Svetlana and Victoria work in the kinesthetic modality—this is no less valid a channel. Ekaterina receives a retroactive revelation about the chip—this legitimizes her experience and removes doubt.
How Psychology Sees It
The Higher Self can be interpreted as a metaphor for the integrated Self (in Jungian terms) or as developed intuition brought into conscious communication. Valentina, Elena, and Slava demonstrate the ability to distinguish between the "first thought" and subsequent overlays—this is meta-cognition, a key skill of inner clarity. Elena makes a differentiation between an external object of attachment and an internal source—this is a sign of psychological maturity. Svetlana and Victoria use somatic markers (vibrations, bodily sensations) as indicators of truth—in neuroscience, this is linked to the work of the insular cortex and interoception. Ekaterina demonstrates classic retrospective reinterpretation, when a person finds confirmation of their experience through an external authority, which reduces anxiety and strengthens identity.
Part Three. The Hierarchy of the Invisible World: Curators, Archangels, Phantoms
Voices
Valentina: "My curators revealed themselves on the first day: the phantom of Jesus, Archangel Michael, and MidgasKaus—a curator from the planet Esler in the astral."
Marina: "MidgasKaus and LiShioni are extraterrestrial scientists in astral bodies, specialists in contacts. They supervise everyone who comes here to study."
Alena: "I am aware of all Cassiopeia sessions. I know the prayer from the phantom of Jesus: 'My Lord is Light, and I am Light, we are one.'"
Ekaterina: "My direct curator is Zaliatar. I began to hear him in November of 2024."
Svetlana: "Irina Podzorova is a contactee with chips. But I don't fetishize the curators. For me, the functionality of the matrix is important."
Victoria: "I was told that I am above levels. But I don't know, maybe it's a different system of measurement."
Portrait of the Center Through Their Hierarchy
Cassiopeia in their perception is not a flat esoteric teaching. It is a multi-layered universe inhabited by entities, each with a name, function, and even a planet of origin. And this universe becomes real for each participant—not as a metaphor, but as an experience.
On the very first day, Valentina has revealed to her the phantom of Jesus, Archangel Michael, and the extraterrestrial curator MidgasKaus. She does not doubt their reality—she "saw" them with her inner vision. Marina describes MidgasKaus and LiShioni as scientists in astral bodies—this gives the teaching a scientific, almost technological tone. Alena receives a prayer from the phantom of Jesus and incorporates it into her daily practice.
Ekaterina is a special case: she receives a personal curator, Zaliatar. This is not a general mentor for everyone, but a personal guide who speaks specifically with her. This confirms her unique status in the group. Svetlana and Victoria approach the hierarchy pragmatically. They accept the names and roles but do not fetishize them. For them, what matters is whether the system works—whether the matrices bring results, whether their lives change. They take from the teaching what solves their problems and do not get stuck in the scenery.
Cassiopeia in their hearts is a cosmos that has become personal. Where there is not only an abstract God but also concrete helpers: MidgasKaus, Zaliatar, Archangel Michael. Where prayer becomes not a ritual but a conversation. Where hierarchy does not oppress but structures: everyone has their own place and their own task.
How They Understand It Themselves (Spiritual View)
Curators are concrete entities with names, functions, and planets of origin. MidgasKaus and LiShioni are extraterrestrial scientists in the astral, specialists in contacts, supervising the entire project. The phantoms of Jesus and the archangels are spirits in phantom form, accessible through the contactee with chips or through the Higher Self. For those who accept this hierarchy, it becomes a source of legitimacy and protection. Ekaterina receives a personal curator—this confirms her status in the group. Svetlana and Victoria demonstrate cognitive selection: they take from the system only what solves their tasks, ignoring excess decoration—this is a sign of healthy differentiation.
How Psychology Sees It
The curators serve the function of archetypal supportive figures. Jesus symbolizes love and forgiveness, Archangel Michael—protection and boundaries, MidgasKaus—research and connection with other planes of existence. The names of the extraterrestrial curators are phonetically "alien" and create an effect of non-human language, which enhances their authority and distinguishes them from traditional religious figures. For Valentina and Marina, these figures are real actors—not metaphors but perceptual systems attuned to agency. Ekaterina receives a personal curator—this can be interpreted as the creation of an internal object of attachment that gives a feeling of security and chosenness. Svetlana and Victoria show the ability for cognitive selection, which is a sign of psychological maturity and an absence of doctrinal rigidity.
Part Four. Matrices and Apparatuses: The Technology of Transformation
Voices
Valentina: "They connected the Burhad matrix—energy began to expand in different directions, awareness appeared."
Elena: "In the Da Vinci egg, I set the intention to expand my spiritual heart—I experienced the presence of God and the opening of the heart chakra."
Ekaterina: "SSG was difficult, I was sick for a month. Apparently, there was a transformation of energies."
Victoria: "When I started asking questions to my Higher Self, my blood pressure went up. I was told: 'Everything is amplified.' From the questions, I understood that the Burhad matrix had been installed."
Slava: "I noticed energy in my hands when I did massage. I'm an energy worker, I feel bumblebee and cosmic flows."
Portrait of the Center Through Their Sensations
Cassiopeia in their hearts is not lectures or books. It is a technology of experience. Matrices, apparatuses, chips—these are not abstractions but tools they feel in their bodies.
Valentina describes the expansion of energy—she literally feels the boundaries of her consciousness expanding. Elena experiences the opening of the heart chakra as the presence of God—not intellectually but bodily. Svetlana speaks of organ restoration—an effect that persists for months. Ekaterina goes through a painful period and interprets it not as illness but as transformation—old energies are displaced by new ones, and this is painful but necessary. Victoria receives the matrix in a dream—the installation happens without her conscious participation, which for her becomes confirmation of higher intervention. Slava feels energy in his hands—his natural gift is strengthened and becomes more conscious.
Cassiopeia appears as a laboratory of the spirit. Where faith becomes knowledge, and knowledge becomes experience. Where you can not just read about chakras but feel them opening. Where instruments make the invisible tangible. This is critically important to them: they came not for theory but for experience.
How They Understand It Themselves (Spiritual View)
The Burhad matrix and SSG are extraterrestrial energy matrices installed into the participants' auras through the contactee Irina Podzorova. They restructure a person's interaction with reality on all levels. Valentina describes the activation of higher centers. Elena describes work on the emotional level, the opening of the heart chakra. Svetlana describes the purification of the dense body through subtle structures. Ekaterina describes a crisis of transformation, when old energies are displaced by new ones. Victoria describes higher intervention confirming her mission. Slava describes an innate gift that the matrix amplifies.
How Psychology Sees It
From the standpoint of neuroscience and psychophysiology, all these effects may be the result of the placebo effect, the expectation effect, and neuroplasticity. When a person believes in a matrix and expects changes, their nervous system reorganizes—cortisol decreases, sleep improves, overall tone rises, which is subjectively experienced as an "expansion of etheric channels." Elena describes the opening of the heart chakra—this may be associated with the activation of brain areas responsible for empathy and interoception (insular cortex, anterior cingulate cortex). Svetlana feels organ restoration—this may be either a real improvement in health due to stress reduction or a subjective improvement in well-being. Ekaterina was sick for a month—this may be somatization of suppressed stress or the result of intensive reflection. Victoria received the matrix in a dream—this is a classic form of retrospective reinterpretation. Slava feels energy in his hands—this may be related to the work of mirror neurons and interoception, which is intensified in a state of concentration.
Part Five. The Group: Mirror, Family, Summer Camp
Voices
Valentina: "At the first level, everyone cried with happiness, hugged, laughed. We all share, brothers and sisters in the Creator."
Margarita: "I wouldn't say we're exactly close. I have one task, another has another. You don't have to hold hands all the time."
Alena: "When you return from the Center, you feel like a black sheep. People think something's wrong with you. Finding new friends, your further growth."
Svetlana: "We live in a hostel, like a summer camp for 45+. It's a continuation of the practice—living in a shared room."
Ekaterina: "We were all sort of nobody and grew up in the group."
Victoria: "When you come to Cassiopeia, you meet people who accept you as you are. With minuses, pluses—and there's no rejection."
Slava: "I saw Roma and understood: here is a person who is not a stranger but a kindred spirit. I feel people by energy, by inner frequency."
Portrait of the Center Through Their Interactions
Cassiopeia in their hearts is people who look at you and don't turn away. The group becomes the primary tool of transformation, sometimes more powerful than matrices and apparatuses.
Valentina experiences catharsis: tears of happiness, hugs, laughter—she finds a family she never had. Margarita maintains a healthy distance: she values the group but doesn't dissolve into it—she has her own path, others have theirs. Alena feels like a "black sheep" outside the Center—returning to ordinary life becomes a shock because no one there understands her new language. Svetlana calls life in the hostel a "summer camp"—she sees a pedagogical meaning in it: communal living becomes a continuation of the practice, a training ground for communication skills.
Ekaterina speaks of collective growth: "We were sort of nobody and grew up." This is a narrative of a shared journey where everyone learns from everyone. Victoria values unconditional acceptance: here you can be with your pain, your fears, and no one will say "stop whining" or "get over it." Slava feels energetic kinship with some participants—he sees not appearance or social status but inner frequency.
Cassiopeia appears as a container for emotions. Here it is allowed to cry, laugh, be angry, be afraid—and all of it is accepted. The group becomes a mirror: in other participants they see their shadows, their gifts, their blocks. And through this seeing comes healing.
How They Understand It Themselves (Spiritual View)
The group is not just a study group but a "spiritual family" gathered by the curators for joint work. Tears of happiness, hugs, and laughter are energetic cleansing and the recognition of "home." Horizontal communication is no less powerful work than vertical communication (with masters, with the Higher Self). Insights often happen in the corridors, in the hostel, in the dining hall, because in these places self-control and defense mechanisms decrease. Svetlana calls the hostel a "summer camp"—this is a metaphor for laboratory social relations where one can make mistakes, argue, and make up without destructive consequences. Slava feels kinship by energy—this is the work of subtle perception, the recognition of kindred souls.
How Psychology Sees It
From the standpoint of social psychology, the group fulfills the functions of a reference group, a mirror, and a safe space for emotional expression. Valentina experiences catharsis—the discharge of suppressed emotional material through safe group empathy. Margarita demonstrates healthy separation: she is in the group but not dissolved in it—this is a sign of self-differentiation (in Bowen's terms). Alena experiences the contrast effect between the reference group and the background group—this is a normal stage of identification. Svetlana uses the hostel as an emotional intelligence simulator—these are conditions of proximal development (in Vygotsky's terms). Ekaterina adopts the narrative "we grew up in the group"—this is a collectivist narrative typical of closed spiritual communities. Victoria values acceptance—this compensates for isolation in ordinary life. Slava feels kinship by energy—this is the work of the right hemisphere and interoception.
Part Six. Transformation of Pain: From Blow to Light
Voices
Valentina: "A man strongly bumped me with his shoulder. At first I thought: 'Scoundrel!' but then I stopped, turned around, and sent him light of love, saying: 'We are brothers and sisters, I accept your method, I'm not offended.'"
Alena: "Not to judge. Only God is given everything. Thought is material—it reaches the one you think about and changes them."
Svetlana: "People haven't irritated me for a long time. I stopped being annoyed—and people stopped irritating me."
Victoria: "God accepts us as we are. To rise above your human feelings and just look at this world from above—that is the path to God."
Slava: "I was offered to take the black path, but I refused. I called myself 'only white.' Against magical influences."
Portrait of the Center Through Their Reactions
Cassiopeia in their hearts is a place where they learned to pause between stimulus and response. They do not stop feeling anger, irritation, pain. But they stop being slaves to these feelings.
Valentina demonstrates a key skill: she does not deny the first reaction—she honestly admits to herself "Scoundrel!" But then she pauses, reinterprets the event, and consciously directs light. This is not suppression but transformation. Alena practices non-judgment as a discipline of the mind—she understands that thought is material, and thought control becomes her spiritual practice. Svetlana notices an amazing effect: when she stopped being annoyed, people stopped annoying her. This is not an illusion—it is a change in her own frequency, which stopped attracting triggers. Victoria learns to rise above emotions—to see her pain from a height, as part of a larger context. Slava makes a conscious moral choice: he was offered an easy path, and he said "no."
Cassiopeia appears as a forge of character. Where what is trained is not the body but the soul. Where small everyday situations—a shoulder bump, irritation, temptation—become exams. And they pass them.
How They Understand It Themselves (Spiritual View)
The change from anger to forgiveness and light is a key indicator of spiritual growth. Valentina does not deny the first reaction (honesty), but she pauses, reinterprets the event, and consciously directs light—this is work on the astral level. Alena practices non-judgment and thought control—this is the purification of karmic ties. Svetlana feels the absence of irritation—this is the purification of the astral body from negative thought-forms. Victoria rises above emotions—this is work on the causal level. Slava refuses the black path—this is moral reflection and conscious humility.
How Psychology Sees It
All these examples demonstrate cognitive reappraisal—the most adaptive mechanism of emotional regulation. Valentina automatically reacted with anger (System 1 in Kahneman's terms), then engaged a pause and reinterpreted (System 2)—this is an example of higher-order emotional regulation. Alena practices judgment control—this is a cognitive filter that reduces anxiety and increases the sense of control. Svetlana stopped being annoyed—this is the result of reducing amygdala reactivity due to meditative practices. Victoria rises above emotions—this is decentering, the ability to see one's pain as part of a larger context. Slava refuses the black path—this is a conscious choice of values and a rejection of quick results for the sake of long-term integrity.
Part Seven. Roots of the Gift: How Childhood Prepared Them
Voices
Margarita: "As an infant, I could fly out of my body. I saw energies as numbers. My mother sealed me. When my mother died, the bans were lifted."
Elena: "As a child, I was afraid to sleep at night. My grandmother taught me to turn to my guardian angel. My surroundings considered me an 'alien.'"
Victoria: "At twenty, I thought: 'What nonsense. I should probably go see a psychiatrist.' At thirty, I could already speak with the dead, with angels, with the Mother of God."
Slava: "At the end of the eighties, I began to gather myself piece by piece: I read, copied, compared. I was often told that I was 'not of this world.'"
Svetlana: "Since I was 40, I've been in the Roerich Society. I perceive the Higher Self vibrationally, through the heart."
Portrait of the Center Through Their Past
Cassiopeia in their hearts is a place of returning to their true selves. They do not become someone new—they remember who they always were.
Margarita remembers out-of-body experiences in infancy and the perception of energies as numbers. Her mother "sealed" these abilities, and only after her death were the blocks removed. Elena grew up with the feeling that she was an "alien"—her experience did not fit the norm, but her grandmother gave her a safe way to contact the invisible world. Victoria went from shame to recognition: at first she thought about a psychiatrist, later she learned to speak with the dead. Slava spent his life gathering himself piece by piece through books, feeling "not of this world." Svetlana found a culturally acceptable form of spiritual search in the Roerich Society.
Cassiopeia in their perception is a home they returned to. Their childhood gifts, rejected or sealed, become the norm here. Their "strangeness" becomes talent here. Their loneliness becomes community here.
How They Understand It Themselves (Spiritual View)
Early spiritual experience is not fantasy but a memory of a pre-verbal state when the spirit had not yet fully "grown into" the body. Margarita retained the memory of out-of-body experiences and the perception of energies as numbers—this is a sign of structured clairvoyance. Elena received a safe way to contact the invisible world through her grandmother, but her surroundings rejected her experience—this created internal tension. Victoria was ashamed of her gift and thought about psychiatry—this is social stigmatization that was later removed through community recognition. Slava gathered himself through books and systems—this is intellectual compensation for loneliness. Svetlana came to esotericism through the Roerich Society—this is a culturally acceptable form of spiritual search for her generation.
How Psychology Sees It
From the standpoint of developmental psychology, early sensory and paranormal experiences in children occur more often than is commonly thought, but they are usually forgotten or suppressed. Margarita retained the memory of them because they were intense and recurring. Her mother "sealed" her—this created an internal split between her true nature and the demands of her environment. Her mother's death removed the bans, and Margarita was able to legitimize her experience ("I'm not crazy")—this is post-traumatic growth through loss. Elena received support from her grandmother—this allowed her not to withdraw into isolation but to find a safe way to contact the invisible world. Victoria moved from shame to recognition through trauma—grief broke down social barriers. Slava used intellect as compensation—this is adaptive coping that was later supplemented by living experience. Svetlana found a culturally acceptable form of spiritual search—this is integration, not dissociation.
Part Eight. Death as Transition: Continuing the Connection
Voices
Valentina: "I commemorate my deceased parents, pray for them, ask the higher powers to raise their vibrations. Every day I send them light of love."
Margarita: "When my mother died, the bans were lifted. I talk to her through my Higher Self, through thought-forms. My mother said: 'I didn't know whom I gave birth to, forgive me.'"
Alena: "The Church didn't help. The person still passed away. I came to Cassiopeia through grief."
Victoria: "I buried one son, I'm waiting for the second from the war. It's easier for him when it's easier for me here. If we feel bad here, then they feel bad there too. I can talk to him at any moment."
Svetlana: "They showed me problems along the ancestral line—with my father and mother. I wrote a letter, was in tears. There were things left unsaid, somewhere I lost it."
Ekaterina: "One participant passed away two days after the retreat. She chose such a path. I honored her memory."
Portrait of the Center Through Their Attitude to Passing
Cassiopeia in their hearts is a place where death ceases to be an end. Where you can continue to love those who are no longer in the body. Where grief becomes a channel, not a prison.
Valentina sends light to her deceased parents every day—this is not a ritual but a living connection. Margarita receives forgiveness from her mother—and this dialogue removes years of burden. Alena came precisely because the Church could not give her comfort—Cassiopeia became a replacement for lost faith. Victoria makes the most difficult and important transition: she stops holding her deceased son in pain. She understands that her suffering does not help him but rather holds him in suffering. By allowing herself to be happy, she frees him.
Svetlana works through ancestral lines—unspoken issues with her father and mother that had dragged on for years. Ekaterina accepts the participant's passing as the soul's right—without judgment, with respect. Cassiopeia appears as a space for healing losses. Where grief is not denied but lived through. Where the deceased remain nearby—not as ghosts but as light. Where death becomes not an end but a transition.
How They Understand It Themselves (Spiritual View)
In Cassiopeia's teaching, death is not an end but a transition to another form of existence. Contact with the deceased is possible through the Higher Self, through thought-forms, and by sending light. Valentina prays for her parents and sends them light—this helps raise their vibrations and complete ancestral programs. Margarita received forgiveness from her mother—this is the lifting of a karmic contract and liberation. Victoria moved from grief to liberation: she understood that her suffering held her deceased son in pain and allowed herself to be happy—this is an act of love, not betrayal. Svetlana works through ancestral lines through letters and tears—this is completing a gestalt. Ekaterina honored the participant's memory—this is recognition of the soul's right to leave.
How Psychology Sees It
From the standpoint of grief psychology and thanatology, all these practices are forms of continuing bonds with the deceased, which modern psychology recognizes as healthy. Valentina, Margarita, and Victoria use prayers, thought-forms, and sending light—these are ways to maintain connection without fixation on suffering. Victoria is especially significant: she moved from a pathological bond (where grief holds the deceased) to a healthy bond (where love continues but without pain)—this is one of the key stages of the grieving process. Alena experienced a rupture with the Church—this is not a loss of faith but a substitution of the object of faith, which allowed her to integrate trauma. Svetlana works through ancestral lines—this is work with intergenerational trauma, which in systemic family psychology is called "transmission of trauma to descendants." Ekaterina honored the participant's memory—this is recognition of the body's finitude and the soul's right to choose, which reduces the fear of death.
Part Nine. Integration: How They Carry Light into the World
Voices
Margarita: "I work as a psychologist with a state diploma. Esoteric abilities are an additional tool. I'm not afraid to combine them."
Alena: "I'm an educator in a state kindergarten. I tell children about an ant—he has parents and children. I teach them to care, not to trample."
Svetlana: "I'm an artist. I became one at 53, from scratch. I plan to publish a book for beginning artists and give it away free to libraries."
Ekaterina: "I organize meetings of the Cassiopeia group. I lead people, set the tone. I had experience as a concert promoter—now I use it for spiritual work."
Victoria: "I'm an English teacher. I introduced the UFO topic in lessons—the children bombarded me with questions. I don't impose, I respond to interest."
Slava: "I'm a poet, a member of the Writers' Union. But I don't value titles. My creativity lifted my entire soul."
Portrait of the Center Through Their Life After
Cassiopeia in their hearts is not a refuge. It is a launching pad. They come, fill up, and return to the world—to change it in their own way.
Margarita is not afraid to combine a state diploma with esoteric abilities—she integrates two worlds. Alena transforms complex esoteric ideas into lessons of care for small children—through an ant she teaches them love. Svetlana becomes an artist after fifty and plans a free book—her creativity becomes service. Ekaterina uses organizational skills from show business for spiritual work—she leads the group, sets the tone.
Victoria introduces the UFO topic in English lessons—she does not impose but responds to students' interest, creating space for reflection. Slava writes poetry and does not cling to titles—his creativity expresses his soul. Cassiopeia appears as a place that does not separate them from the world but connects them to it in a new way. They do not retreat to a monastery, do not abandon their professions—they embed spirit into matter. Their transformation becomes visible not in what they say but in how they live.
How They Understand It Themselves (Spiritual View)
All these participants fulfill their contractual tasks, confirmed by the Higher Self: they embed spiritual content into socially acceptable forms. Margarita uses esotericism as an additional tool in psychology—this helps clients unfamiliar with esotericism. Alena sublimates esoteric content into ecological education—this is safe for the state system and valuable for children. Svetlana turns creativity into service—the book and exhibitions become a mission. Ekaterina uses organizational talents for spiritual work—this is service through earthly skills. Victoria introduces UFOs in lessons—this creates space for reflection without imposition. Slava writes poetry—this is a channel for expressing the soul.
How Psychology Sees It
From the standpoint of occupational psychology and social psychology, all these participants demonstrate successful integration of esoteric identity with professional identity. Margarita uses the state diploma as legitimization—this is protection against social stigmatization. Alena sublimates esoteric content into socially approved pedagogy—this is classic sublimation. Svetlana turns creativity into service—this is generativity in Erikson's terms (the task of late adulthood). Ekaterina uses promoter skills for spiritual work—this is the transfer of competencies from one sphere to another. Victoria creates space for reflection without imposition—this is pedagogical wisdom. Slava has a critical attitude toward titles—this is protection against grandiosity and healthy humility.
Part Ten. "After": Returning to Oneself
Voices
Elena: "In a week, I unpacked what I couldn't explain before. Alexei helped me connect with my Higher Self. My purpose is not just to love all living things but to heal souls through the Higher Self."
Slava: "In a week, for the first time I felt not just knowledge but a living experience. As if something in me really shifted, opened up, and began to breathe more freely. I moved from preliminary interest to inner confirmation."
Svetlana: "Good deeds stimulate treating people better. If people have no goals, it destroys the organism. I'm glad I have goals now."
Ekaterina: "We were told: 'Stop. You take responsibility yourselves.' Before, I was used to being led. Now we go at our own pace. I accepted the role of 'king' as a joke, but also as responsibility."
Victoria: "After every night, there was a feeling as if some burden had been left in the past. I allowed myself to be happy. It's easier for him when it's easier for me here. All of this was already there—default settings."
Alena: "I moved from 'My Lord is Light' to 'I am Light, we are one.' I start the morning with gratitude. I don't judge. I send light to those I'm in conflict with."
Portrait of the Center Through Their Outcome
These voices are the culmination of the entire portrait. They speak not about what they received but about who they became. And in this lies the true portrait of Cassiopeia.
Elena moved from intuitive love to conscious service. Slava—from knowledge to living experience. Svetlana—from searching for goals to creating them. Ekaterina—from being led to self-reliance. Victoria—from victim to conduit. Alena—from an external source to an inner reality.
Cassiopeia in their hearts is not a place but a state. They come here to learn to be themselves. They leave—and take this state with them. The Center becomes a midwife of the soul: it does not give new abilities but removes the noise, allowing what is already there to sound in full force. Their transformation is not about becoming someone else but about returning to oneself. Whole, despite everything.
Cassiopeia appears as a space where marginal experience becomes central, where trauma becomes a mission, where loneliness becomes community, where the fear of death becomes contact with eternity. This is an ecosystem where everyone finds their own: structure for chaos, recognition for shame, meaning for pain, community for loneliness. The Center becomes a bridge between two realities—material and subtle. It does not offer salvation from the world—it offers a way to live in the world differently. This is not an escape but a return.
How They Understand It Themselves (Spiritual View)
Transformation is not receiving something new but activating what already exists. Elena moved from intuitive love to conscious service—a shift on the causal level. Slava moved from intellectual interest to living experience—a descent of knowledge into the body. Svetlana moved from receiving to giving—the fulfillment of age-related generative tasks. Ekaterina moved from being led to standing on her own—spiritual maturation. Victoria moved from victim of circumstances to conduit—an identity shift. Alena moved from an external source to an inner reality—the integration of prayer into action.
How Psychology Sees It
The participants' transformation is a transition from a state of crisis to a state of integration. Elena moved from the position of student to the position of guide—a shift in self-actualization (in Maslow's terms). Slava moved from fragmented knowledge to holistic experience—an integration of the left and right hemispheres. Svetlana moved from searching for meaning to creating it through action—logotherapy in Frankl's terms. Ekaterina moved from dependence to autonomy—separation and maturation. Victoria moved from "take me away" to "I live so that love can pass through me"—post-traumatic growth. Alena moved from words to actions—the incorporation of teaching at the level of identity.
Conclusion. Cassiopeia Through the Eyes of Their Hearts
Cassiopeia did not give them new abilities. It removed the noise, allowing their true "Self" to sound in full force. It became not a refuge but a battlefield where they conquered their own paralysis. It did not replace their reality but gave them tools for living it.
Valentina found family and structure in Cassiopeia. Margarita found a language for describing her childhood experience. Elena moved from intuitive love to conscious service. Slava moved from fragmented knowledge to living experience. Marina moved from loneliness to community. Alena moved from trauma to service. Svetlana moved from stagnation to goals. Ekaterina moved from being led to self-reliance. Victoria moved from death to life.
Their transformation is not about becoming someone else but about returning to oneself. Whole, despite everything. This is authentic spiritual transformation: not escape from the world but the embedding of spirit into matter so that love passes through them—to the living and to the departed.
Cassiopeia in their perception is a space where marginal experience becomes central, where trauma becomes a mission, where loneliness becomes community, where the fear of death becomes contact with eternity. It is not just a school—it is an ecosystem where each participant finds what they need: structure for chaos, recognition for shame, meaning for pain, community for loneliness.
The Center becomes a bridge between two realities—material and subtle, between past and future, between pain and healing. It does not offer salvation from the world but offers a way to live in the world differently. This is not an escape but a return—to oneself, to others, to life.
The portrait is based on transcripts of 11 interviews (first and second) with participants of the "Cassiopeia" School of Contactees, summer 2026. Methodological framework: double optics—spiritual (with the premise of the reality of contact) and psychological (from the standpoint of scientific knowledge as of June 2026).
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