The New Overall

32loadHere’s a dream that has everything: a big building representing the dreamer, a love story in the penthouse between the masculine and feminine aspects, three cars of life parked and awaiting. And this image brings them into a single landscape, because the higher and the lower – penthouse and valet – and masculine and feminine need to come together in a person. Even to the point of accepting the new growth, or pregnancy, within a life. Sometimes such a new reality can seem overwhelming and make us want to drive off, yet to grow we must stay. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, in my dream I’m like a young woman. I’ve met a man who’s kind of swept me off my feet and I’ve gone to his penthouse in the city. But he seems to own a lot of the building, because he has something like a valet or someone who’s on the ground floor also.

And when I’ve gone up to the penthouse, I’ve been with him, and some female relative of his comes along. I don’t know if it’s a mother or a sister, but I’m still a little uncertain of myself but he seems committed, but everything is kind of new or unknown to me.

Well, I’m there with one of the female relatives and another young woman who comes in who is almost like talking about she’s going to get married, and I think it’s to him, maybe she even has a baby – and I think it’s his baby. And everybody is kind of familiar with her, and greets her, and so now I feel like I just have to get out of there. Obviously I misread the situation.

Somehow though I have three cars, and one I’m keeping in a closet, and the others are on the ground floor. I think I even have a gun somewhere for some reason I feel like I have to take with me, that might be like a silver gun. So I’m gathering my things and I just need to get out of there because I’m upset with all this.

Well, another part of me from someplace else can see that I’m misreading the situation, that this young woman maybe is actually married to his son, whom I don’t know, or has a baby by his son. But in the moment with the facts as I see them, or as everybody seems to be acting them out, I feel like I just have to get away.

And when I go down to the ground floor it feels like the valet has also quit, and so I can get him to drive one of my three cars and I can get away. But the dynamic that’s going on is that I’m noticing these things and how I’m feeling, but then there’s another part of me that’s seeing everything from a different viewpoint that knows I’m misreading things – but the two aren’t connected.

There’s one of me kind of going through the actions and reactions in the dream, and then there’s another part of me that knows there’s another way of looking at it, but the two parts have not connected at this point in time because the part of me that knows what’s real is actually able to see things the other person can’t see. That’s about the most that I can remember right now.

John: So your dream’s a collage of things in which something more is going on than what is seemingly perceived, and that you have to have a grasp of this greater quality of what more is going on.

So you basically have what is called a landscape. A landscape is this quality in which something is owned from top to bottom. In other words, even the valet on the ground floor is under the influence of this whole vibrational effect. And you go in and you initially will see something that is not quite right, in terms of something, and so you will draw a conclusion based upon prior concepts of things – that make sense, if your perspective is to use only the prior concepts of things to draw your conclusion.

But doesn’t make sense in relationship to the new overall, the new wholeness, the greater overallness. In other words, everything in this building is like a collage. I mean the valet is like that guy, everything that’s quickened into another kind of aliveness and whatnot is all part of that. And so what you are meant to be in relationship to this, is you’re meant to be able to take all of that as if that’s the landscape of it all, and you’re able to add an imprint. You’re able to take that aliveness and make it even more alive.

So the thing that you’re doing is, where I might dwell upon the way of adding something to the landscape by changing vibrations and energies and pulling together to create a better collage effect upon a given set of landscape, you know that being the masculine way, you’re still doing this in a feminine way. The world and everything in it is your landscape. In other words, this building from top to bottom with valet and all of the things going on, whether you like it or not, or agree with it and see how it all fits and whatnot, and it’s all more meaningful in terms of something else, that’s your landscape.

Where the masculine higher-self quality of your beingness needs to come in is, you have to accept all of that landscape and bring something down and through, and be able to take that and make that then even more magnificent than what it currently is, by the fact that you can imprint a greater wholeness of yourself into it, not as defined a wholeness as you’re accustomed to imprinting.

And you have three vehicles at your disposal in which to do that, and those three vehicles represent past, present, and future. And you can take and drive off in one of those vehicles as if this is the way things are designed, in terms of the landscape of the future, you could say no, no, no I‘m sticking with the past. I have my concepts of the past, I’m driving off. And yet you can ignore all of those and let them all be one great big whole; accept the present, accept it without reactivity.

I even came to see this in terms of how it is in terms of dreaming. That in dreaming you have to integrate something that can show you what it’s like in terms of the past, which is the creator, the Brahma way of dreaming. How it needs to be accepted and kept in a calmness and nonreactionariness and nonconceptualization, in terms of the Vishnu effect, And how if you can do that then you can have the Shiva effect in which you then can take that greater landscape that you have come across and it can be just a whole greater reality and expression.

You took a great big building and you made the whole thing alive as the landscape, and in that whole thing that’s alive as a landscape you’re always going to find something that you can’t quite like. And then you took yourself and you brought yourself into this, and you now need to be able to work with that.

Now what you are in relationship to that building is you are a collective of vibrations and energies that can be then put in place in that building to create as a kind of collage yourself vibrational pulling together of all kinds of different energies to be able to deal with it. Because one part of yourself is not going to like the fact that there’s a woman in the building that’s pregnant, and what was that all about? And you pull that out of context and could have an objection to it.

Another part is not going to like the way the valet on the ground floor functions in relationship to something at the top. I mean you could find all kinds of things, in too black-and-white a way of looking at your dream, to object to. And then you could pull off and you could go off on a particular tangent, but you need to work with all three vehicles, the past, present, and future. You can’t drive off with one, knowing deep down inside yourself that it really is all okay.

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