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Archive for December, 2018

the-best-beach-kristina-wentzell

Kristina Wentzell

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.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Shoreline

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1000If we want to understand how a machine works, we can take it apart and see what makes it go. But what do we do if we want to understand living things – things we can’t take apart?  Well, we have to connect to them, in the same way that a shaman or medicine man in the past learned to connect to the healing essences of plants. And if we want to connect to something energetically, we have to do it from the essence in us to the essence in it, which means energy to energy. But, of course, we have to become quiet enough in ourselves to receive and translate that communication. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So, in the meditation dream, I find myself holding off from responding to an issue in which there is an invoking of an outer response. In other words, it’s an outer trying to get my attention, and so I’m holding off responding to it. And I hold off because I know, deep inside, that the response cannot be an in-sync reply. In other words, you can’t respond to the outer: reflections cannot meet reflections.

So I hold back, and do not reciprocate outwardly, because there’s something inside of me – and I consider it like the soul or something – which is refusing to move. It wants to just stay still. It won’t buy into this outer that is trying to grab my attention.

So I find myself surrendered to the inner stillness. In other words, I just can’t bite; that motion just doesn’t grab me. And so what does that mean? Does it mean that the outer vibrations are somehow or another absorbed by the stillness, or into the heart? And that my mind, that normally buys into the outer reflections, just cannot do it? In other words, there’s something that has gotten more meaningful, in terms of staying still with a more all-consuming heartfulness.

So that causes me to wonder: what is this stillness? And I come to ponder it as relating to the plane of the soul, which is where surrender and nonbeing come together, and where everything is absorbed. The outer is absorbed by this encompassing heart, or something.

In other words, the reflections aren’t separate. The reflections can all be taken within. And so, in other words, there’s always going to be reflections, but the reflections, you don’t take them with you in bizarreness, the reflections stay as manifestation still, in terms of the degree to which something has to act out vibrationally, with images.

And you’re always noting the degree of true stillness by looking at the greater teacher of the outer, that is manifestation, but you don’t try to change the outer in order to get to the inner. Such a mindset, in which the outer vibratoriness and corresponding images are something that you can bring with you into the plane of the soul, it just isn’t so because they are reflections. They veil the heart from the inner. They vie for the heart.

So what happened is, in my meditation dream, I was able to not reciprocally react because I was on the plane of the universal soul where stillness is natural. Now the alternative to that, of course, is an outer reflective in which the senses portray the reflective physical and the result, then, of something like that is kind of an ego orientation floundering as manifestation. In other words, putting out the vibrations and the images because vibrations and images are correlated. Or, to put it another way, manifestation exists as an outer reflection in which vibrations correspond to created images.

And so this has caused me to notice a psychic illusion. To visualize, within, an outer future unfoldment involves the taking of a vibratory energetic from the stillness into physical manifestation, and doing it this time in which you stop time, as if irrelevant. In other words, manifestation is a conditional reflection involving time and vibration which, densed down, becomes physical space.

So psychic inflections are a deviation in one of two ways in terms of the stillness. They are a deviation in that you can have a psychic quality in which you transcend time, so that you can come to see things backwards and forwards, and up and about, that’s a psychic trait. Or you can take and you could still be buying into time, but you can get rid of vibrations, in which case if you can get rid of the vibrations that then manifest into something physical because they constellate as something dense in the outer, if you can get rid of the vibrations, you know that have their way of having to live something through in a reflective denseness, then you can do things like transport or move objects. In other words, you can transcend space. So psychic abilities have to do with playing on the edges of time and space, that are important as foundational points to a vibrational imaged manifestation.

And so what has happened is it’s causing me to denote the subtler levels of vibration in relationship to looking at the stillness, in terms of looking at the stillness, in terms of the components that come out, that are the reflective manifestation. Thus you hold the stillness, and then the manifestation reflects differently. It’s just how it is.

It reflects to the degree to which it still imparts that which still has to be lived, and it still has to be imaged. It still is something that you’re not quite fully able to let go of. It still reflects that. You don’t come to the stillness by playing with the reflective outer.

So that’s an important distinction, and I can see how this can happen, in terms of a perception, because the out-breath looks like you’re bringing something down into it, and so, as an out-breath it’s like, you know, there’s a momentum and whatnot. It’s easy to catch this as something that is meant to impact the outer – but, no, it’s from the inner. That other creates a diversity where there is the seeing and hearing of things that are unfolding, but the unfoldment is reflectively oriented to the inner awakening.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Natural Stillness

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mirror-mirrorIf we build a house, it will be a reflection of the way we think and feel about ourselves and the idea of “home.” In the same way, the clothes we wear are a reflection of the way we imagine ourselves and how we want to feel. What we see on the planet, its flora and fauna, and its ability to support human life, is a reflection of its internal energies. It is a wise person that learns to read what outer reflections tell us about what is happening energetically. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So the way my dream worked, the sleep dream that is, is it starts off where there is this like little person, extremely little, like five inches, one foot, a foot and a half, whatever, that just lays on my stomach – up by where the heart’s at, and lays on my stomach. You can cuddle it, you can cradle it, and you can disappear into it, and there’s something very inner and sweet about that.

It’s like an energetic, or something, because obviously you can’t have something like that actually, in a physical sense of it, and yet it has that whole sensation of such a closeness.

And then there is, in the outer, the idea of things that can be done, and that’s represented by being able to drag something to and fro, like a long hose. And in order to show that you’re making progress, in terms of going to and fro, back and forth and back and forth, the hose has marks on it, and so you line up a mark to a particular line, and then you turn around and you go back and you line it up, then. And, when you hit that, you go back and forth, and conceivably you’re gaining the measure of things by that approach.

Well, as you keep it up, it gets harder. It doesn’t get easier because there’s always a snag or this, that, or the other that seems to accumulate, in terms of the reflective is always building. It’s never simplifying. It’s always becoming more and more diverse. And, on each end, there is a man and a woman and, as far as I can tell, they seem to have to be helping me, supposedly helping me, and supposedly maybe even related in some sense in terms of this process.

Well, on one occasion, I get snagged and I have to go over things that have come up because the outer is continuously changing. And the woman realizes I’m in trouble and she comes and starts helping me, and because I’ve come up, and over, and around I have to come out of my entanglement so she pulls the hose a ways. And when I get to where I can look to see where my whereabouts is at I’m completely lost and confused. We’re off track, and yet she was the one that was supposed to have a sense at that end, in terms of how it lined up. Plus, this is starting to not make any sense, because if you’re going to and fro and you’re lining up to particular measurements, and all of a sudden I’m having to go up and up and around and about is obstacles ,this is getting very, very confusing. How can you have anything that is being simplified in this way?

And then I come to find out that the two are wanted by the law, and one of them is accused of espionage. And so this causes me to ponder the meaning of the term espionage and all of that. And so it’s like the scenario of going back and forth, to and fro, which is both exhausting and debilitating is an illusory reflective effect that kind of grabs your attention, and can predominate in a way, as if it’s possible to actually sort things out by contending with them. And that’s a confidence game. In the end this, as a process, is not acceptable, and the inner authorities have questions regarding espionage.

Espionage is the taking of an inner clarity and attempting to use it, to do things in the outer, that are designed to gauge and measure what is going on. It doesn’t work like that and, when this is revealed, what you come to know is that instead of things getting clearer, the whole outer thing is becoming more and more overwhelming. Or to put it bluntly, the longer you go with this as a primary frame of reference, the further you kind of get from making any real significant headway – as the beginning and the end just seem to stay out of sync with the inner flow; or things just seem to continue to continue in some sort of acting up way.

The point is this: true change comes from within as the heart of hearts embraces. In doing so, the vibrational nuances and image of a this or that, which is the outer – instead of you going back and forth in them – they get absorbed as the stillness essence prevails. Or, in other words, renders the reflections back to a stillness.

The idea that there is an outer part that is played independently, or has a component that can function in terms of looking at the reflection and trying to make the reflection change in that regard, is the wrong focus and attention. The focus and attention has to be to the stillness within.

So this was how I answered that question, and you answered it by trying to pretend that you could have it both ways, that you could take some of the outer along for the ride, too, but instead the outer, which is reflective, the reflective just stays as the reflective. It just reflects the transformation of an inner.

The outer is revealing. It reveals; it’s reflective, and it’s reflective of the inner. It’s not something that you go into the illusion, and then the illusion then takes you to something which is non-illusional. No; how can it do that?

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Reflective

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