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Future Sense

March 27, 2020 by d2k

90JJJOften, we reel drunkenly from a positive outlook to a gloomy outlook. Usually we will find a point between the two and settle there, knowing that any extreme view may not be the full picture. In our dream life, we can see this play out between the different characters in the dream, each taking different sides as they try to bring us to a resolution and deeper understanding. And it’s like the breath, we need the full cycle of in-breath and out-breath, the full process of putting into life, and drawing back into ourselves. It’s a natural process that can be our guide when we find ourselves in any extreme position. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: Now listen very closely to mine because it’s the exact same thing, what lacks is my ability to describe the dream, but it reaches the same conclusion and understanding by being able to read the energetic.

In the meditation dream, I am confronted with having to cope with what appears to be two different energetics within my being. In other words, that’s how you feel it, that’s how you felt it, it’s like two different qualities, and it was like two different energetics.

So the first energetic, which is the in-breath energetic, has me all revved up. And when I am revved up, what is going to happen to me is going to be a calamity – in some sort of outer way. It seems I can’t do anything about this part of myself. But note, there is no resolution, just a disarray. The way I put it is: there is a sense of what is possible and meant to be within a greater unfoldment.

But if you were to say it from the standpoint of kundalini energy, from the stillness is what you mirror, but in the mirroring can be both outer and it can be inner. You can mirror it into the outer, or you can mirror it back into another zone inside of yourself, which is the zone of the spaciousness and what more is in there.

And that aspect is generally described as a type of magnetism, in terms of how it’s described in the outer, or in the dense way. In the subtler way, it is a bringing of what is needed, in terms of the time, because you have to put the time and space together in order to break the chains of manifestation. In other words, you have to go beyond both of those modalities.

So, there is another part, now this is describing the out-breath, that seems separate, that knows, in the future, everything is going to be okay.

So the dream image is as follows: a part of me knows not what I am doing in an outer way, and I have a sense of catastrophe – in terms of this being a discombobulated quality. I know that this aspect of my beingness is in trouble. Yet, even so, there is a future sense, and this future sense is like a part of myself that I know “gets it,” and knows that things will work out somehow, and be okay.

So what is going on is the first part is in the in-breath. It is an in-breath that is overly expansive in the spaciousness, and is going to suffer a crack up if this spiraling continues unabated. And the second part is the out-breath. This is where there is a timing seeking its whereabouts. The timing and the spaciousness need to find each other for there to be an orientation to the essence of an all-pervasive wholeness.

Why did I dream this? I dreamed this vibratory orientation in order to note that the expansiveness of the in-breath is unstable, in and of itself, and needs, first of all, a stillness, so that the timing, from the out-breath can catch up, or reach it, for a completeness to occur. Until the two come together in an orientation there is a waywardness that is spiraling out of control.

When I’m spiraling in the expansiveness of in-breath, deep down I know that won’t end well. This is offset by a future sense of things in which I know that there is a wonderful resolution in an undefined future. That future sensation is a timing that needs to be brought into the spiraling spaciousness. I am meant to catch up with the spaciousness of the in-breath, and the timing of the out-breath, to break through the veil of having to be about something in the physical sense dense way.

The net effect of going beyond time and space is to reach other levels of a greater inner world beingness, and bring this as a consciousness into a knowingness. What I’m talking about is an access that is in touch with such other levels of my beingness, which reside in a non-entity stillness outside of the physical orientation of time and space. In other words, I’m talking about time and space outside of the physical orientation. I’m talking about a time and space beyond the planes of manifestation.

This is more than spirit energy, although that is a level of beingness outside of time and space, or is it? It’s kind of in time and space because pure energy is still a type of substance defined, or viewed, as kind of an etheric way; in other words, very, very subtle. And there is much more because, in an all-pervasive stillness, nothing exists but the essence of it all.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Future Sense

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Touched by Timing

March 26, 2020 by d2k

gilbert-garcin-surrealism-in-black-and-white-5Perhaps you’ve noticed it, in these recent days, that things that once seemed so important now are showing us how shallow they actually are. The veils of things rise slowly in our consciousness, in a way that we never actually see them happen – and we don’t even know they are there. Yet when these veils fall away, even briefly, we have a chance to see them in proper perspective. And, when we do, we begin to remember what is really important in life. The question is, how quickly do we then forget? (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In my last dream, it felt like I had gone into the office of somebody. She had us actually sit on a thing that was halfway on the floor, and she was like redoing my fingernails and something else.

But right before that she’d been doing something that was really kind of sabotaging or, I was almost like trying to get away from her, but I needed her to redo the nails. But the fingernail polish wasn’t coming off right. And she’s kind of scattered and somebody else comes in because she’s running late, and then she has to run into the other room and let her boss out. And so I’m just trying to sit and actually get quiet because I seem to have to let it finish.

At another point I go over to a case in the room, I’m looking at things that are in that case, which have interesting designs on them. And I tell her about some glass jewelry people are making now that’s very hardened glass, but it’s kind of intricate. And then I just sit down and feel like maybe if I just sit down and be real quiet, she’ll be able to finish what she’s doing because I have to get the polish changed.

But before that it felt like she was aggressive in some way, before I had gone into that room, and I’d been trying to stay away from her.

John: So the theme of the dreaming last night had to do with being able to take and access other levels of oneself, but only by first coming to grips with the way that we create a cause-and-effect orientation that gets in the way.

And so, the thing that’s notable about the initial vibration of things, in other words, you have an intent where you have to change a certain demeanor in terms of yourself. And the atmosphere that you find yourself having to do it in is revved up, or it’s aggressive, as you call it. And there is something that’s out of sync, or too chaotic, for this to happen as it needs to happen. And so, you have no choice, as far as you can see, but to try to take that which is chaotic and bring it to a stillness.

Now the part of the breath where the chaotic, and the revved up, and all of that is at, is on the in-breath. And the problem that exists is that, at this particular point of orientation, what is lacking is timing. So you have this on the in-breath, as a spaciality. Like I said, the theme of the dreaming had to do with being able to access other levels of oneself. And these are levels that are outside of time and space.

So you’re starting in something which is dense from the standpoint that it’s located on an aspect of the in-breath that needs to let go in some way to become more still. You need to be more still in order for something that you know needs to happen, to happen.

So, the person that’s doing your nails represents time. And so you know that everything can be okay if the timing comes together with the spaciousness, but for the timing to come together with the spaciousness, when you’re in a spaciousness that’s revved up, or chaotic, or the scenario seems aggressive, and where it’s all abstractive distractive – and you know that you have to stop that. You have to let go of that demeanor, which means you have to put it into a stillness. So that from a stillness, then, it can be in a mode that is ready to be touched by timing.

So when the timing is right – and the timing can’t be right if you’re spinning out – when the timing is right, which means when you get into a stillness so that you can wait for the timing to hit, the time is the out-breath. The in-breath is the spaciality; that’s space. So when the timing is right, then they come together, you find yourself in an orientation, now, in which, first of all what you’ve done is you’ve broken the bonds of a certain aspected demeanor that’s limited because of a discombobulation in terms of the breath. When you break the demeanor that keeps you in manifestation, and the denseness in manifestation, and you’re in a time and space outside of time and space, because time and space exists as something in manifestation.

Your dream doesn’t go there, but that is what happens next is now you’re in the orientation, or you’re in the stillness inside of yourself. In other words, you’ve pulled everything into a greater stillness, and it’s said that at interval where the in-breath turns the out-breath, from that traveling in God you can come to know the other levels that exist.

So you go beyond that, and you go to a point where you are able to experience the overall essence of all that there is. And because of the timing coming together with things, you can experience this with a knowingness.

In your dream you just knew it somehow, naturally, and that was that in this chaos of a spaciousness, you had to stop, and you had to find the stillness, because until you did that, till you quit the doing, or the spiraling, or this revving up, or the identification of something being aggressive or whatever you want to call it, until you brought things into a stillness, something couldn’t happen. And that which needed to happen was the timing, to come into cohesion with an aspect of yourself, that you had let go of, that is in the in-breath, the spaciousness.

The importance of doing this was way more than just breaking the limitations of the journeying of the in-breath and out-breath that go back and forth. Not just to break that as a reflective means that can keep you going in a circle and never getting free, but to drop into, and be shifted into, the spaciality in a way so that what’s in that spaciality, which is the great emptiness, the great nothingness, the great, great stillness, the essence of everything that exists, so that that can come out. And the importance of timing is essential, because none of it can happen without the aspect of the timing coming together.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Touched by Timing

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A Little Fish

March 25, 2020 by d2k

im51wsOur experiences each day trigger different aspects within us. And, in the internal processing we do because of that, our dreams can give us a status report. Here we have a little fish – too small to keep – that must be thrown back into the water, back into the unconsciousness it arose from. When we see a child in a dream, or anything young and in a state that still needs to grow, or needs protection, we are being shown another inner aspect that needs further nurturing. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In the other dream I remember it felt like I had taken somebody, I know it’s a guy, and I’m taking him down to this glen and gotten into a rowboat. I know there’s some seaweed in the water, or something that looks like that.

And it feels like I want to catch some fish. But my line goes in the water a little too soon, and the fish I pull up is a little too young and looks too much like a sucker to me. So I want to get it off the hook because I do want to catch fish, but it feels like the timing was off there.

And that wasn’t quite the fish I wanted to catch; it didn’t look that edible. It was more like just an accident. And we’re kind of gliding through the water, which has a little bit of seaweed in it. That’s all I remember of that dream.

John: Well, if you were to take that image as a type of revelation, what you’re basically saying is that you’re capable of feeling parts of yourself that don’t quite feel copacetic to that of the heart.

And so the heart is reaching to something bigger and so much more. And that you have to keep letting go of the little nuances, and the little things that have you abstracted, in some degree or another, which in this case is the little fish. Because you’re dealing with fish, you’re dealing with consciousness. So you throw back that which isn’t a completeness, or wholeness, to your being, or an essence of your being.

Now, this is also an in-between dream, it’s an in-between dream because you’re talking about the subject of consciousness as opposed to stillness. And consciousness still has an action, or a motion, about it. It still has an identification orientation, in that there’s such a thing as the big fish. And there’s such a thing as the little fish.

And so it’s like the type of journeying yet where you’re opening up to more, and more, and more of a depth inside of yourself. So you’re still on an aspect, in this this dream, of the in-breath where you’re still in a process of going, so to speak, to a home or a stillness. And you haven’t reached that, yet, you’re aspiring towards it.

It’s an interesting image, though. It’s used in the Bible and whatnot, and that’s probably why you pulled all of the symbolism out, in terms of the fish. Well, the theme of the dreaming was kind of a nature of a step back, a step back in relationship to having to contend with what’s going on, so to speak, almost as a whereabouts, based upon, you might say, a scenario. And the scenario you could portray to be like the scenario of Lee’s family, and the congregation, you know the event that we did at church.

And so that was the loudness, so to speak, that was in the outer, that when you take to the inner, you spin around to see what is going on in that. Ordinarily, we don’t spin around that sort of thing. But, in this particular case, it was the food, or that which we invibed to take into account, to absorb, so to speak.

Ordinarily, we have a sense of what is outside of the breath, of just the stillness, the emptiness, but the environment that we were in, yesterday, the scenario of what we were in yesterday, is caught in some aspect. The aspect that they’re caught in is all in the in-breath. It’s not an out-breath orientation. It was an in-breath orientation.

And so, in taking a step back to deal, or to be, with that, because you couldn’t sit in a stillness, you can’t sit in an absenteeism, to take a step back to deal with it. And one doesn’t know how to maintain something that’s completely reflective, so in taking a step back with that, your approach was to spin it a little. My approach, rather than use the word spinning, was probably to contend with the vibration of that, in terms of how it had its motion, and knowing that the motion was pointing to a nucleus, or to a center of things, and to try to have a mirroring, revelational inflection that did two things.

That, number one, enabled them to look at where they’re at, because they’ve been through a lot and so you take that in a neutrality. You don’t take and beat up on it by the fact that it is holding them in a trance, in a tone, in a mood and a bewilderment, in kind of a confusion. You don’t beat up on that. What you do is you notice that it is pointing to something, they are traveling towards something, they haven’t yet caught up with that.

And so, the actions that they are in, or the moods and whatnot that they’re in, are like verbs and adverbs that modify towards something that they still see as a principal thing, which is like a noun. Now we know this to be better than this. We know that what it really is about has to do with a stillness that is outside of the breath. And that this is still something, and everything about the congregation was still something, that had to do with trying to accentuate a quality of a traveling in the in-breath to a sense of something, the sense of something being more like a essence, that’s more like a noun, yet, instead of the stillness.

The minister did say, however, something very profound, in that he said that after each song try to notice the stillness.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: A Little Fish

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