It’s often noted, when comparing humans to animals, that a lion can’t write a poem, and a fish can’t paint a painting. And yet the human can. And why would humans be given such an ability? The answer lies in the understanding that humans can transform the unseen into the seen; we can take an emotion, or an idea, and make it physical. And just as we understand ourselves by seeing what we are capable of over the course of our life – turning potential into reality – Creation can understand herself by seeing what humans can unlock from her potential, her energetic possibility. We are the connection between two worlds. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: Well I just had one dream – and I didn’t particularly like it. In this dream I seem to work for some kind of a bureaucratic agency, maybe like the Parks Department. We’re in charge of a beach area that feels like kind of a rugged coastal area that has big waves, and rocks, and sand in some areas, where people can come, and swim, and things and, you know, the buildings all associated with that.
And one of the bureaucrats above me has commissioned us an initial sketch for a painting they want to put on one of the walls of one of the beach areas, and he wants to show the sandy beach with big stormy waves, and some kind of bronze, bare-chested mermaid figure – kind of like the ones that they put on the prow of a ship – and a little rowboat half buried in the sand. That’s kind of the overall theme of the painting.
Then he also has taken everybody involved in the painting, or maybe that works in the area, and taken us all down to the beach for a photo op, complete with a bronze statue of a mermaid. Well, then after he goes back to the office, I start thinking about all of this and it feels like, the first thing, is that it just feels off to me because even for the sketch he employed an artist that is a poor artist, so it’s just like he muddled around in the paints some, in terms of their colors, and what’s actually showing on the painting. I just don’t think it’s a very good painting.
He’s also someone that none of us relate to that well and I think, in order to see what should really be done, that we need to get a better artist even to do the sketch. And it seems like I know somebody that is a better artist, plus I get together everybody again and go down to the beach for another shot, a photo op without him.
And even though I can see how that goes well, at this point I think I’m waking up and I’m beginning to realize that there’s something flawed about the whole thing – like he’s kind of trying to do a painting of a scene that doesn’t really exist, and it’s not even really a family friendly scene in a way with a bronze mermaid and all that. And, you know, when I think about how the beach really should be used by families, and how it really looks, and what his panting looks like, it seems to me like, you know, we need to toss out the whole idea and start over again.
So it’s kind of like this dissatisfied feeling with it all, where I was trying to fix it at first, and then I didn’t even see that it was that fixable.
John: That’s a tremendous dream. First of all, the theme of the dreaming last night had to do with the significance of the inner, and how does that correlate to the outer? And my meditation dream went into the depths of the inner, as if that’s the end all, be all of something, in terms of how the vibrations that rise out of a stillness, and have images that one can dream can become so vivid that one can put them into an alignment, and remember the vibration on all of that, as if that’s a whole realness on the inner.
And so that would imply and suggest that the reflective outer is really an extreme bifurcation that gets in the way from something that can unfold, in that kind of dynamic, that doesn’t have the denseness of the outer getting in the way. Then, when I went to sleep, I was shown that there has to be this other half because it’s important for reasons, too. And I’m not necessarily shown the reasons. I’m just shown images of what it looks like when you don’t have that other component, or that other half. I’m just shown that there is that other half, in other words.
And, in your dream, you start off and you just take and you refer to the innerness as bureaucratic, and you refer to that which can be painted and drawn as a reflective recreation of a vibratoriness that doesn’t really exist.
And so you have an uneasiness on both sides. You’re uneasy to the bureaucrat, in regards to the bureaucrat. You’re uneasy with regards to the ploys in the outer. And so you find yourself at the shoreline – or between the two worlds – and the dilemma is, can the painter, or the designer, work with the two aspects? In other words, can a painter and the designer hone a painting that is a better reflection of how things are in the unreal? In other words, as a kind of reflective imaginative? Can the painter portray that?
And, of course, to portray that the painter’s going to have to contend with the lunacy of the orders, and the directives, and the whole aspect that’s imposed by the bureaucrat, or the inner. In other words, the inner’s coming through much like a type of bureaucrat if you were to try to look at things from the standpoint of having to be part of, and in, manifestation, at the point between the two worlds, the shoreline, the beach.
And, of course, you can’t really buy into the whole outer expanse of things that are like something that rises up and has a vibratoriness that can be imaged in the outer, because that’s all reflective and isn’t real either.
However, your dream is indicating that what is important in your dream, is the work of the painter, the one who has to take the two aspects, the inner and the outer, and come up with a result that pulls all of that together, somehow. In other words, the transcendent isn’t where it’s at, and the reflective isn’t where it’s at, yet somehow or another, at that point between the two seas, the inner and the outer, is something that can be done – or something that can be brought through, like you say, a painting that can be embraceable by everybody, both sides, both inner and outer. Brings the two together.
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