A Figment of Imagination

Home sweet home is   could  this be  the ultimate treehouse...We are all complex beings, filled with defense mechanisms and fears we’ve gathered to ourselves in our lives. Yet on a spiritual path it’s not about fixing the past so much as it is managing our idiosyncrasies with our consciousness. In that way, we take the power away from them and can begin to experience the world as it really is. And we begin to understand what is behind all that we see. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I’m in a hospital ward and someone else and I – there’s a cot that’s pulled up with a man on it, and at first I think that we’re just supposed to guard the body on the bed, because somebody else comes and pulls the sheet back to see what’s wrong with this guy. I think he was a soldier.

And we see that his whole chest is open, you can just look in and see what’s in the chest cavity. It’s almost like it’s even preserved in what looks like a fluid. Well, the guy leaves, I mean the person who had looked, left because it kind of kind of upset him. And I’m there, I know that I’m supposed to stay with this person until the doctor comes and there’s someone else with me, too.

Well, then pretty soon this guy that’s laying there, that I think is dead, opens up his eyes and starts talking to us. He even gets up. He wonders why he’s there. He obviously wants to go back to wherever he came from.

I don’t want to shock him by pointing out that his chest is completely open, so I just try to talk him into lying down. He can’t leave until the doctor or someone comes, without me really having to explain to him what the problem is, because I just want to get him calmed down to where he lays down until someone comes that can handle this.

John: I don’t know how it is that a person’s ever going to get around the idea of not taking in and believing what one sees as being the situation or the literal truth. In other words, what you’re seeing is a person who should be unconscious, because he’s in a state, or he’s in a condition, in which you no longer cope physically, and yet he has a sense of awareness that is able to want to get up and go and move about, and go about whatever it was that he had been doing before he became mortally unconscious.

The theme of the dreaming was this gap that exists in terms of time and space. It’s almost like being able to say that if you’re really conscious, in terms of a wholeness way, there is no time and space.

The more unconscious you are, meaning the more confined you are to relating to things as if the outer is where everything is at, the more literally you take everything that happens around you. You dreamed this as an image that begged the question: how are you going to reconcile that image? Because what took place baffles the scope of comprehension that you have in terms of the way things are.

And it baffles that because you look at things in terms of having to make sense according to outer appearances. This wouldn’t be so if you saw it all as an aliveness of energy, that never dies, that is constant, that is an essence that permeates through everything, and that you are also not somehow separate or distinct from that.

In your fullness of who and what you are, you’re intertwined with all of that. And it’s because of that intertwining that certain amazing and magical things can happen. It’s because of that intertwining that things work in cohesion with each other. Indigenous cultures work with animals for example, instead of the animals in fear of the people, because there’s a recognized symbiosis, or basically an intertwined energetic.

Because the theme of the dreaming was to try to get one to let go of the way one holds onto appearances in the outer, because the outer reflects something just like a motion picture show – and it’s all fabrication, it’s all a flicker.

What makes those flickers what they are is the waverings that we have energetically inside of ourself. Whenever you cringe with a kind of fear, or react with a kind of wound, whatever little nuance you do sets off a different, inflective flicker, and that responds as if it’s an aliveness as a reflection.

And so we identify with each one of those inflections because we’re constantly splaying out thoughts that work into inflections, that work into outer appearances, and not holding onto the essence in which you go behind all that suddenly has a sense of appearance.

You have something that is totally bizarre, totally outside a realm of normal comprehension, to see if you can make the leap. Otherwise what you see makes no sense whatsoever, and if anything is somewhat appalling, and would cause you to fall back upon the inflection that you generated, that caused this sort of thing to have its energetic counter reflection – according to some inflection reaction, mannerism, trait, or characteristic that you had flicker inside yourself.

If you can’t step back from that, then your heart gets stabbed by the image, which means it shrinks. Because the earlier theme-ing in the dreaming was one of being able to recognize that a person needs to be able to sit in the condition of both conscious and unconscious happening simultaneously.

Now what appears to be unconscious is not unconscious, it’s part of the whole. What appears to be conscious, that we take for outer appearances around us, is really unconscious because we’re identifying with those appearances.

One needs to be able to hold all of that together, because the essence includes it all. But when one goes off on this tangent or that tangent, you throw yourself around. The key is to quit throwing yourself around, to know that you are doing that to yourself.

You can throw yourself around in such a way that you create wonderful results, or you can throw yourself around in which you create horrible results, but all of it is kind of a doofism, because you are acting out as if there is something important in terms of the outer, in some context, instead of the outer being a reflection, constant reflection, of where you’re at on an inner essence level.

In other words, where you’re at in terms of that. And where you’re at in terms of that is you picked an image that has a fear element connected to it, to which the fear element then turned around and laughed at you so to speak because it got up and walked – and how is that possible? Showing that the whole thing is a figment of one’s inflective imagination.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: A Figment of Imagination

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