Here is the third installment of this conversation between Ann and John. We continue the discussion of the inner energetics coming into the outer, through a dream image, as well as how it works in practical ways in daily life.
Ann: I’ve had kind of interesting dream shift, sort of, and what’s been happening is I’m dreaming very, very, very deep and when I wake up I know wow I’ve been somewhere very, very deep and I can’t necessarily pull out all of the images, but I’m able to pull out some images but then there’s a message. It’s almost like… and I’m writing down these messages now that are coming. I’ll wake up and it’s just like I know the message or something…
But the images, there are some images like I’ll share one with you but it’s just a shift is what it is and there’s one I had here. Um, I’m going through my little notebook here real quick.
In this dream all I can remember is I’m standing outside and I’m looking like at the horizon or something and I see these… like there are pyramids. It would be like a pyramid and then a reflection of a pyramid below, almost like below the horizon…
And they’re pyramid shape and they’re almost exactly opposite so the pyramid of course is pointing up and it was all these prisms and it’s all very clear when I was looking at these pyramids up, and then of course down, meaning it’s exactly a mirror reflection like below the horizon were all these rainbow prisms, just prisms of these lights.
And that was sort of the only thing I could remember from the image but yet when I woke up it was like something came through that just said: it doesn’t matter, it’s all the same.
John: It is all the same, yeah.
Ann: And so I wrote that down and I’m getting some of this kind of stuff you know were these like waking up and just sort of knowing something but not necessarily being able to pull out all of the images.
John: There’s a phase like that in which technically what you’re also catching up with is your skills at the same time, because behind that is a magical ability to utilize that in an interesting creative way, that would baffle most people, because within your image you have both the seeing going on…
Ann: The what, the what?
John: The seeing. In other words you have the energetic that is the type of seeing. In other words, you have the pyramid and a pyramid focuses the vibrational energy so that something is concentrated and can be made known.
Anyway, what you did is you took it into sound. You took it into a knowingness that brings it through, and then you were told that it really does not matter… Because they’re the flip sides of each other.
In other words, you have taken the subject that I talk about like okay there’s the mystic and then there’s the alchemist and you put them together as out-breath and in-breath boom one and the same thing. It doesn’t matter.
Ann: Wow. Well that is interesting isn’t it?
John: What I’m trying to remember was what was the second part you said? I understood it but I have forgotten what you said.
Ann: Oh, just that at the top it was clear prism and below were the rainbows sort of below on this horizon, and then I was just standing there looking at it. I was very deep in dreams and then when I woke up it was just a message or something that the message was, it’s all the same, it doesn’t matter, and so that is what I wrote down.
John: When it is brought all the way through it does not. In other words, if it sits as a mystical energy, as an inner, which is the masculine’s limitation, then in order for it to have… no matter how true it is, it’s not valid if it can’t be brought through, and of course then if it’s a little off you can’t see how you are off or losing something energetically.
If you’re not able to bring it through so that you have to have the experiences of the imbalance or how it is that you are energetically off. What you’re doing is you have concentrated this into a focus and you have brought it down into the horizon which you created the image of bringing it through.
Most of it is being introduced as something getting concentrated and shaped and coming down through the aspect of the person, the aspect of the pyramid, all of that accentuates the keenness of the vibration, of the energetic vibration. And then when it’s brought all the way through or it’s upon the horizon or into manifestation, you don’t quite complete that 100% but I’m not sure that you have not either not completed it 100% or having gotten it, because you’re the feminine trait and you’re looking at this masculine principle, and then that whole thing is, so to speak, demystified again when it says that it doesn’t matter. It’s like all the same.
Just like another way that we’ve talked before somewhat about this is we’ll say light and sound are the flip side of the same coin. It’s just at different levels of vibration, different levels of speed.
And that in a human body we tend to get confused and relate to the lowest common denominator, which is through our senses. But then, through our higher self, we can tend to recognize that there’s information coming from within that we can catch up with, that shapes how our lower self can operate or function.
And so what you’re doing is rather than getting all of these semantics you’re just basically saying okay, one can focus the vibration and the energy and bring it through, or it can be there, and it really doesn’t matter. In other words, if it mattered you’d pay more attention to the energy that’s getting focused and going through all these gyrations, and want to go into that as opposed to bringing it through.
But you’re focusing it to bring it into manifestation. You’re creating a flow from inner into outer.
A masculine that feels like it’s got issues with the feminine is going to want to go the other direction.
And what’s important that can help manifestation or help the lower energetic octaves, the dance that we seem to all have to play here, is the ability to bring it right on through from within, to recognize that as the flow.
I mean, in your image there’s no doubt that you recognize what the flow is. That’s why your dreams are interesting compared to my dreams or Jeanne’s dreams because you have a different energetic correlation to it. In other words, you already have a kind of understanding that in some way I may be battering things around to get to certain aspects. That’s a very advanced naturalness.
Ann: I have been having that a lot lately. Oh my gosh, I feel like I’m just so in depth, I mean very, very deep.
John: The thing about that is there’s no shadow dynamic there. In other words, you’re not sitting there fighting some sort of rear guard thing where you have a body double or something going on, and you’re having to run or to chase or you are affected or you are scared or any of these other dynamics in which it just isn’t quite coming through or something is a barrier. Instead you have got the pyramid, you have got the prism going…
You know, you’re bringing it on through.
Ann: Interesting isn’t it?
John: Now, a lesser dream of the same sort of thing would be like a person falling.
Ann: A person what?
John: Where they’re falling, a falling sensation.
You know, and they’re going to die, and they have got to wake up before they hit the ground. Something like that. In other words, there’s a gap, there’s a barrier in terms of bringing the inner into the outer through. The two can’t intertwine. See, you’re intertwining, too.
You’re using the prism, you’re using the pyramid, you’re making the intertwining. You’re doing something that’s a little alchemical even. In other words, you’re taking the vibration, knowing that there’s something that helps facilitate this with the pyramid and with the prism, so this is almost like a turning of lead into gold, on an energetic level, so that it comes through.
It’s fascinating how all of this is, how we are able to… Each of us perceive slightly different the same thing. That is why it appears that this goes on and on and on and on forever. There are infinite levels. In other words, it’s like the dreams like I have with Jeanne can be of a nature, of one nature, and then with a flip of the coin something that you have carries it into this whole other octave.
Oh, the other thing that has come up… this used to confuse me for sometime and that is… and I have seen people confused by it too by saying oh, I can’t tell you this or I can’t tell you that, kind of thing. You can tell a person anything that will come through you.
If it won’t come through you there isn’t a connection of yield within the other person. It just won’t be there.
Ann: Say that again now. That’s very interesting.
John: You can pretty much tell a person anything that will come through you. You can pretty much tell them – it will come through you. In other words, you’re not in a position of saying that I shouldn’t tell this person this, or I shouldn’t tell this person that, even though you want to, and you stop yourself because as you think about it, it’s not right for them or something, but you know that you can say this to them, you know that you could say it to them.
If you know that you could say it to them, it’s okay. If you can’t say it to them and you’re trying to say it to them, then it’s not okay.
Just like what we talk about, what we just talked about right now, I do not know that with Jeanne and I we’ve ever had quite this kind of a conversation. But for you, this is common sense. It’s already there for you.
The caveat to this… there is one caveat. The caveat to this is to be careful in terms of the collateral damage that you create, and so on an energetic level, based upon a little bit of what came in last night, you have to know how to take something away.
In other words, there are certain things that I know that I can say to Jeanne that would hurt her feelings. They would be irreparable. I automatically know that. I don’t ever say that because I also automatically know the reverberations that that would set off.
And even though she might think that she can get beyond that, technically, it will still be malingering somewhere back there as a faint memory, or as a type of distrust or something, or abandonment, or rejection, or however it is that these things get misconstrued, especially when you have certain tendencies in your nature in terms of certain image woundologies that are there. I see those and why go to that?
This brings up again, on an energetic level, another little aspect to it. You always pitch to a person’s strength. There’s something weak about yourself if you always pitch to their weakness, so that you can always stay ahead of the game.
Ann: That is so absolutely true. That is so true, always pitch to a person’s strength.
John: And when you do that everything opens up wonderfully. More things open up than could possibly open up, but when you pitch to a person’s weakness, so that somehow or another you win or something… You’re tearing yourself down at the same time.
Ann: That is so absolutely true isn’t it? Oh, my gosh.
John: And how many people will do that? I find it fascinating. It can be just nothing more than let’s say a ping-pong game, and let’s say I know that the person has got a horrible backhand but a wonderful forehand.
Hit to the forehand. As I keep hitting to the forehand and it gets better and the person’s confidence gets up, then when the ball goes to the backhand the person does pretty good, but if I keep hitting to the backhand I tear them down and then when I go to the forehand it’s all discombobulated too. See, you build up where the strength is. You build it up and then amazingly they find their backhand.
And now if you’re grooming and shaping them and you’re hitting to the forehand and hitting to the forehand and they suddenly get real full of themselves like they are better than they are, then you could change the flow around a little bit, and now you’re kind of shaping them, but you’re still not beating them up by going exclusively to their weakness. You’re just getting them to inflect a little bit. Recognize a little bit, to be able to hear a little differently.
Ann: I love that. Always pitch to a person’s strength.
John: A good example of a righteousness in terms of not doing it and instead of carrying a righteousness, is I remember I used to play a lot of volleyball and you would have six people on a side, three guys and three women per side, every other one, and so the guys are always better at spiking the ball and stuff like that, and it’s easy when it looks like it’s a close game to suddenly think okay, maybe I should step in front of this woman and hit the ball because she’s liable to goof it up and this is an important point.
And if you start doing that you are going to throw the whole cadence of the team off and if… You know, you’ll get into positions where maybe you will have the ideal formation where you’ll have a woman in the center for setting and you’ll have the guys on each of the wings for spiking and blocking.
If the team is really flowing it’s really not going to matter. You can have the guy in the center with two women on the wings and it will still work – if everybody is scrambling and is in sync. When this really got proven to me was the volleyball team I used to play on suddenly and there would get to be quite a few of us that would show up so we could make six and six on each side because we just played and switched back and forth you know to kind of keep an interesting flow.
Well, these two guys showed up and one of them had played on the Polish Olympic team, and the other one was probably a close second or something. Anyway, he was his compadre. And they get out there and of course they’re the cat’s meow and the next thing you know they’re taking… and I would jump as high as I could jump to try to block this guy and this guy would hit it over the top of my block.
Fortunately for me he would do that because if he hit into my block he probably would hit with so much force it would break my glasses and everything else, but I have to play my game so I jump and try to block it and he’d hit it over the top – you wouldn’t even see the ball it would get smashed down so hard.
Well, next thing you know you’ve got these two guys hopping all over the place in front of everybody. Well, what’s very interesting is our team scrambled to beat heck and scrambled and scrambled. We did not have any of this nepotism. We could beat them.
The reason is because they would go… The principle of an inner coming out would get stuck, would get entrenched. Even the guys on that team that are good would figure out how to goof up if the ball would happen to be hit to them and these others couldn’t run in front of them.
The women, forget it. The ball would just bounce off of them and go back to the ground. They all played much better than that of course, but these hotdogs running around, they stole all the energy, they killed the soul.
And they would lose it because these two guys couldn’t be everywhere, and again it’s just the nature of how important this inner is to come in. When these guys were running around doing all of that, they killed the flow of the inner and it caused the identification in terms of the outer that was going on, and in the identification with the outer stifled you because that wasn’t where the action was. It’s dead, viewed strictly from an outer perspective.
Another way of saying is… and I was constantly pushing the team to try to hit this zone in which everything was magical in the way the play would happen, and you’d only hit it for like a few minutes and then it would fall off in some capacity where somebody picked at another, or someone had a self image complex or something, and affected them, this recognition of how this innerness works.
And what amazed me is when you were in sync the ball would come to maybe the worst woman player on the team and she’d take a swing at this thing and the guys would be up to block it and she’d hit it at some cockamamie angle and it’d go over the net barely and it dribbled down and hit the ground. And it would be incredible how often that could happen when you were in sync. When everybody was in flow.
Even the weakest of all players, the ball had eyes for them, and would move in accordance with the rhythm… the inner flow.
This is a huge subject… This is a huge subject and of course at that time the way I pondered this subject had all to do with my attitude and putting pressure on things and trying to push things and then comes the shadow dynamics and then comes the reaction and all of that.
You skipped all of that in yours. You just used the pyramid and the prism and you know, the heck with all that other malarky. And that gives it away. In the end it’s like… What was the statement in the end? That’s what gives it away. Oh, it really doesn’t matter or something like that, right?
Ann: It’s all just the same.
John: It’s all just the same. It’s all just the same.
Ann: It doesn’t matter, it’s all the same.
John: But that’s not my perspective. I had to push the team to try to find this rhythm and some people get mad because they don’t like to be pushed. They’re doing their best because there’s a fine line between being pushed and being judged.
So, one lives their whole energetic life… And you can spend a whole life doing it and not realize that that’s all there is going on.
Instead you could look… like I could look out the window here and I can see the cranes up and they’re building something, oh that’s what’s going on, let me go over and see what that is, as if that’s what is really, really interesting. It has nothing to do with anything. It’s an energetic and the whole motif behind it.
Can I catch up with that? What is that trying to say?
Ann: Boy, isn’t that fascinating? Oh my. Wow.
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