Playing With the Unseen

560In this image there are two ways of access being pursued, one in the form of a certain path to be taken, and the other in the form of a certain substance to be found. It’s not completely clear what should be done, but it is interesting to note how the clues of how to proceed are given, that there is a sense of the best way to find what is being sought. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So in my main dream I’m in some place that feels somewhat South American or Middle American. Anyway, it’s in a Latin country. I’m with a woman that it’s not real clear who she is. We’re like probably in our 20s, both of us. We’ve gone from where we live, which is a certain distance away, and we’re walking through this village looking for something.

We go wandering through this village, but I feel like most of what we’re seeing are kind of things they sell to tourists and that doesn’t interest me too much. It seems to be something specifically that we’re looking for. So we go back through the market a second time, and this time we go down into a building and we meet a man there that’s like Ashton Kutcher, the actor that used to be married to Demi Moore. He seems to know about where you can get this substance we want and he’s going to go see a man and get some.

Meanwhile, she and I kind of wander around. She’s always kind of vague. I don’t see her too clearly, the woman I’m wandering around with. It feels like I room with her. I’m even at that point looking at how we get back to our place, and I’m just not quite sure how we get back there. There’s a more direct route or an indirect route, or a route you can take bicycles on, but I feel like the route that she’s thinking about it might be shorter but it’s not as certain as if we maybe took bicycles and went along the main route.

Meanwhile, I go back to check to see if the guy got the substance, and I think I go to his room a little before and I’m able to actually check out what’s going on there. Well, he comes back and he doesn’t seem to have the substance, he couldn’t get it from the man that had it, and he can’t seem to direct us to where this man is. But he seems to feel like he has something that’s almost as good, that’s just like the same thing. But I look down and I look that he has a sleeping bag he sits on and if you reach into that bag, and part of its side is cut away, there’s a substance inside it that he can reach in and crumble with his hand and when it gets really fine he’s trying to tell us that’s kind of the substance.

But I recognize that there’s still something that I guess to me would feel artificial about this. It feels like the man that he went to see or tried to find and see would have a version of the substance that was very fine and maybe refined or how it was in the very old days, and whatever he’s making now from some substance that’s in this bed he has it’s not going to be as good, just like I kind of feel like with my roommate, if she tried to find a shortcut back to where we’re going it’s not going to be as certain as if we take the longer sure route. That’s my best impression of the dream.

John: So first of all, you’re kind of thrown into a scenario in which you do not have your familiar bearings, which means that the scenario has a tone or a mood as a prevailing energetic. And the girl that’s with you is your shadow that also is in some way, shape, or form helping to hold that energetic that’s a little bit off in relationship to how it is that it can be pulled together. In other words, there’s something in the focus that’s off.

The deep meaningful theme of this dream is that even though that may be so, something being a little off in that you’re needing to try to bring it back into a cadence, what you’re needing to see is that this is possible through some natural invisible way. In other words, your shadow knows that in terms and relationship to dialoguing with your shadow the way to come back to the room is not as black-and-white… it’s not as establishable as you would think.

In other words, it’s not something that you can just readily ascertain and set forth, in other words there will be something missing if you do it that way, which is no different than this secret substance that you’re trying to find which you’re looking for in the outer, but it’s so fine that it is found almost in a way that you can’t put your finger on it, that can’t be tangibly located. That which is in its rawer state you know that settling for that is not going to bring you to the insight, an inner knowing insight, in an overall way that you need to have.

In other words, what you’re doing is first of all you’re paint brushing a setting in which there’s a tone or a mood or a mannerism in it. And then even though you’re sitting in that tone and mood or mannerism you know that there is something else that is outside of that, that is free of that. In other words, you have a sense of how to get back that is different than what might be described or done in some sort of specific manner that can be laid out and therefore takes off the life of it all, takes out the potency of the vibrational support.

And that is not a whole lot different than that as you are ascertaining the need of something that will take and put you outside of the tone or mood that you’re carrying, it’s not a whole lot different than the recognizing that there’s something natural and very fine that you can’t necessarily put your finger on, that you can’t necessarily locate in a simple way. In other words, it’s more than what you can catch up with, yet you know that that exists.

And the other substance that’s still raw and still needs a lot more refining and whatnot, you know that that isn’t going to be what you need in order to get you back or to bring you to a point where you need to be.

So you’re playing with the unseen, and you’re kind of doing it in two ways, or maybe even so to speak kind of repeating a similitude parallel, one in terms of how you get back to where you’re staying, and the other in terms of how you bring about that which you need. All of it in relationship to dealing with the table that you set, which has to do with being in a place and in a condition and in a state that needs to change a little bit because it’s not conducive. You know that it can become more in keeping with how something needs to be or to feel.

And of course you have your little shadow going around with you, to try and help, but in this particular case it’s kind of hard to tell if it’s helping or just being a crutch, or a support, in a process that is seeking to find the alignment in terms of how it is that you’re supposed to find this quality that is best known and understood and realized in its unseeable, unknowable condition. And even though one tries to make it seeable and knowable, what you do is take the life out of it if it’s trying to go from point A to point B, or you take the life out of it if you’re trying to infuse yourself with a secret substance that’s something that will change the tone or the manner or the mood you’re in. That doesn’t work. So, you’re probing this unknown subject in terms of an overall way of carrying yourself.

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