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Without Thinking

What does development look like? Well, we can look at our automatic system of breathing: the out-breath and the in-breath. We do not breathe consciously, our systems take care of that for us. Yet we can put our focus on our breath, learn the ways of it through our consciousness, and over time, that conscious awareness will become part of our automatic systems. You could say that this is how we upgrade our own software, using our consciousness, and developing through this process. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So to be aware of how something needs to be done involves the spacing of the out-breath’s way of being in focus in order to notice an objective awareness. This is my conclusion in the meditation dream. That’s not a correct conclusion, because then when I repeated this in the sleep dream, in which it was like, okay, now what if they always overlap? Because the breath goes back and forth, back and forth; it almost overlaps.

So, in my sleep dream, I get challenged by the seed thought, but what if they overlap? I have found a way of comfortability by being able to kind of think that there is an either/or. And I try to say that an either/or I can handle, which I say in the sentence: to be aware of how something needs to be done involves the spacing of the out-breath’s way of being in a focus. And, when I can do that, I can have an objective awareness and a seeingness. 

And when I don’t like what I see, and seek to let go of a density that touches the heart is where listening comes into play. And listening is part of the in-breath going towards a stillness. So I’m trying to solve this, resolve this, as something in which you have the two halves or something, and you have, thus, seeing and hearing. Seeing and hearing, which is often where you see the speaking part because you can’t hold it together, you tend to blend them, is what we have to contend with. 

Now, if one follows the dictation that I got at the very end of my sleep dream, which says that you have to do them both simultaneously, what that means is, that fits with the Sufi statement that you learn to speak without thinking. In other words, how to be in an expansive and a contractive simultaneously – it goes so fast. It’s rhythmic, intertwined flow; it goes through you. 

So to be the eyes and ears of God, also known as a hidden treasure longing to be known, in order for such a consciousness to be accentuated, it seems that there’s a subtle guidance that has to be reached, or noticed, that involves an attentiveness and letting go simultaneously

So I actually do get it; I deviate away from it in my sleep dream. I actually do get it: they have to be done simultaneously. Because, up above, I was struggling with how to separate them. A simultaneous attentiveness and letting go has to do with the rhythm in which the breath can be pulled together – so that there really isn’t an in-breath and an out-breath. They come together as one and the same, above and below, inner and outer. 

It’s a rhythm of the breath, and a receptivity to all there is. And then I cover all that: above and below, inner and outer, seeing and hearing, feeling and believing, in which, as an emptiness, all is included, and, as a heartfulness all is embodied. I got it, but, not really. It’s nice to say that, but see I put it into practice and I go haywire again.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Without Thinking

The Overlap

The universe expands and contracts, we breathe out and we breathe in, and, between these two states there is always an area of transition. Of course, we can say that these are automatic processes and we don’t need to put our attention upon them, but when we put our consciousness on anything it potentizes the process, and also aligns us to what is unfolding. Part of the idea of being in the flow is to be attuned to the breathing of the whole. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So going ahead with the interpretation of this, which I do in my dreams because I have to dream the same thing, is I didn’t get it either. I got the download in the meditation kind of dream, and then, when I went to sleep, I got the follow-through effect of what that’s like, where you can get scheduled, or find yourself with something happening. 

And in this case, it was all imaginative of something I was going to have to face tomorrow, they were going to overlap. And it was going to be an absolute catastrophe because no matter how I did this, you could not keep, you could not work with something that may, say, start with a contractiveness, and then comes another event that overlaps, that, before the contractiveness that normally scheduled would have been okay because it would have been separate in and of itself. And then there was something that required a letting go, or an in-breath greater expansiveness. And that was going to have to happen, too, and it was going to overlap. 

That no matter how I tried to figure out how to shift inside myself, or to adjust or whatever, having gotten off on too big of a tangent – both being a type of identification, except one’s an identification with more of a letting go and freedom of it in the expansiveness, while the other is more of bringing something through. 

I couldn’t see how one could do this. And I know that bringing something down and through is part of seeing. And that the letting go and the greater expansiveness is part of listening. And so I just really, really struggled, and probably wouldn’t have really quite got it all pulled together except in the miserableness of the sleep dream, I fell back asleep. And then I was suddenly jolted and woken up, and was told that when it is like that, or when in doubt, you have to do them both simultaneously. 

So that’s the rhythm of the breath. To show how I went through the putting together of this is I was presented as if this didn’t exist, for feeling purposes. In other words, to better understand an unfoldment which seems to exist, it had to be presented as if I had to adopt a way of letting go, I guess, as if it didn’t exist, in order to experience the feeling purposes. 

In other words, there’s two scenarios. In each scenario I notice that I snap back in an identifiable way, which is the determination that’s an identification as is caught upon the breath, which I’ve already known that. In other words, I’ve learned to go into a stillness, but now I’m not allowed to escape. 

So now I have to look at the identifications on the breath. And so if my attention is upon consequences of a demeanor, and I’m dwelling upon such an unfoldment, this indicates an imbalanced orientation to the out-breath in which you can bring something down and through in life in and of itself. And so there are consequences and whatnot, of a demeanor, meaning if there are consequences you’re looking at it and trying to figure out how it relates to you in a personal way. In other words, you’re not holding it in a proper manner. So you’re dwelling upon the unfoldment and that creates a disorientation. 

And I also noticed the letting go process in which you’re moving away from identification, in other words, outer identification, per se, and in a direction that’s towards stillness, which is an expansiveness, indicates an orientation that is like an identification, except it’s towards the expansive.

Now I go back and forth. So with the out-breath orientation, I’m projecting what I’m being touched by to be important, which is like a thought or whatever. However that is, I’m projecting it to be what’s important. 

With an in-breath orientation, my demeanor is weaker, and I’m not as reliable; I’m more spread out. Thus, I’m not inflicted by the density condensing of things. And therefore you’re more intangible; you’re in kind of an open space. 

So for those who chose to work upon themselves in manifestation, the out-breath is crucial. For those who are drawn to an inner overallness in which a spirituality is sought, the in-breath predominates with a vibratory sense of an overallness. 

So, in other words, the emphasis goes back and forth. An image of fresh new snow, kind of like a little interlude where I faded back and then suddenly got hit with this image is an image in which I am shifting to the inner purity of myself, and evolving to this for healing and letting go to an inner essence. 

This is kind of that sense where we go off into our spiritual side of an in-breath, and an expansiveness, and we let go and we can experience that as kind of a whiteness of ourselves that is getting snow, which is a purity. But that’s an in-breath quality. Outer identification and expressiveness will fall away when you have something like that. But, again, that’s half the breath; there’s a dilemma.

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

The Contrast

The signs are everywhere: humans have a unique ability to consciously integrate opposite states. We see it in the relationship between energy and matter, or the spirit and the physical, and we see it in the assimilation of the different natures between in-breath and out-breath. And it’s an important idea because things that are in different states, i.e., energy and matter, need a third state to make the integration – and we humans provide that third state. Thus, in us, all things can come together in ways that are not possible in any other form. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I don’t know whether my dreams last night made any sense to me. I know I had one dream that must have been triggered by a spill of something on the couch because it felt like I was focused on how you could absorb something and improve it by absorbing it. I just don’t remember enough details of that, but that seemed to fascinate me a bit how you could just take salt or something and absorb something.

And then I know I had a dream that I seem to be visiting people, and at night time. They had to scatter with where they slept, and one girl went up into the mountains kind of alone to stay in a house that used to be lived in by her parents. And they had left now and she had the house. 

And some people stayed a little bit closer in the city. And I seem to travel up on a road near her house, but, realizing it was dark out, I just seemed to sleep somewhere kind of rough. And then the next day, when we all got together, a friend that I knew that used to lead seminars is there, and she’s meeting with all of us. 

And I had assumed that the person that slept in her parents house was comfortable, but I found out that actually she felt lonely being there. I’m hearing about how people felt about their night. And then the seminar leader gets up and she goes over and she takes a look at a pair of boots that I have that are this soft kind of yellow leather, and seems really interested in them. And then she leaves. 

And so then I go study my own boots to see what it was that kind of interested her about them. And I think that was when I woke up. I mean, none of the dreams seem to make any sense to me.

John: What’s interesting is I see all of the dreams connected. It’s almost as if you’re shorting out a story, so you’re telling it in bits and pieces. Because to tell it in one fell swoop or something, is something still of a mystery to you, so it seems that by the bits and pieces you’ve got a whole picture. 

And that you have to take in all of that as a whole picture, which means that I should probably start trying to do that with all of the dreams that happen, and the meditation dream and everything else that are connected in a given night because I can see that there is in some cases 180-degree snap difference – but is that really a difference? 

Is it not just a way of how it needs to be processed? Because in an out-breath and an in-breath way, there is a dichotomy that exists. And that if something has a particular focus, and is being brought down, and then on an in-breath you have the vibration of something of a letting go in a greater expansiveness back towards a stillness. 

And the out-breath is the opposite of that, because again, it’s the bringing of something down and through and doing it in a way that is accommodational to manifestation. And somehow or another, the in-breath, then, will look to be in contrast to it if you break those things up in a sequencing or something, you have them going on like that. 

And, in your dream, first you started with the absorptive process, it’s a component that has to be there, that both the in-breath and the out-breath are things that have to be absorbed in one’s nature. So you start with the theorem that, through all of this, there has to be the ability to sweep in and sweep up or, in other words, absorb, or take in, the unfoldment simultaneously, because you never know which is going to be unfolding – whether it’s an out-breath or an in-breath. And they follow so close to each other that you need to be able to absorb their effects so that you don’t get caught in a personal motif. 

In the second aspect of it you were shown the differentiated parts of yourself where there is the part that comes into a scenario, in other words, sleeps in the house, that is the parent’s house or family house or whatever it is, that is contractive, and contrasting, and identifiable to that person. And so there is a type of coming down quality that is distinct and, perhaps, miserable as an expression. 

And, at the same time, or to also be happening, is the expansiveness of an event, of something that’s supposed to take place in the atmosphere. And because it’s expansive, and the other was contractive, that can come across as a contrast. 

And then the final image, you saw this as yellow boots, and boots are a way of conducting oneself, and yellow is a way of being able to be in a simultaneous way, not having to be thrown around by both in-breath and out-breath. Thus the reason for the word rhythm, but we’re still looking for an even more in-depth meaning to the word rhythm.

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