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Archive for August, 2019

imag333esIt is a particularly unhelpful track we humans have gone on, that we believe that we are the source of what is happening. And to compound the problem, when we come across an obstacle, we think that we will find the solution. But this conception removes us from our faith, belief, and trust in the unfolding of the universe, of which we are an integral part. Did we think the universe created us and then left us to our own devices? Unlikely, when we acknowledge the precision and beauty of the unfolding of everything we know. That is why so much of our work is to let go of this deep-rooted concept, and embrace the fact that we are part of a bigger unfolding, one that is trying to help us all the time, if we can just get out of our own way. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I don’t remember all of the dream. I know they were fairly profound last night, and that I was kind of struggling in them in a way. One dream I remember going into a room where Lew [a teacher] was, but he’s wearing more like a bathrobe, and he’s turned away as though he’s upset. And it feels as though I’m trying to give him some information that’s a little more reassuring about what’s happening, because this town that we’re in I seem to know more about. I know something about some history there, or things that are buried, or hidden there, and so I’m trying to be a little reassuring about how things look.

And then I remember going into another room where Lew’s in bed with his wife. And I’m over near the edge of the bed, because he asked me I have to tell him about some of the mysteries I’ve read. And it seems to me like I’m walking around to the opposite side of the bed, and making the bed, as I’m talking to him about some mysteries that take place in different countries that I like. But I’m a little sheepish about that, that I read these mysteries, although I know he likes mysteries, too.

And then some people come in, or I get distracted, because I notice that in other rooms that are on opposite sides from each other, it’s like there’s a little girl in one, and I don’t think there’s anyone in the other one, but some candles in those rooms have caught on fire. The room the little girl’s in there’s more fire. There’s less fire, because I seem to be putting the fire out, in the room I’m in.

But I have to leave my room to go over to her room and show her how to put the fire out. I seem to feel like I can put the fire out because it’s come from candles that have dripped, but in the process, although the fire in those two rooms seems to get put out, there’s a room on the opposite side, in fact in an other area even, that used to maybe be an old jail, that I had known about because again I seem to know about this town more than anyone else that’s in it, when the candles caught fire they seem to cause a melting that revealed this room. Part of that old room was a jail and there’s some old skeletons there. It’s like Lew’s kind of looking at that with a little bit of interest.

Then another part of the jail contains a woman that had been maybe locked up, or contained there, that I felt I was not a very good influence. She was maybe even somebody that had been in charge during that time, but it was better that she was dormant. And I also seem to be trying to find some tea for people, maybe even to serve her tea.

Then I suddenly seem to be whisked away by a couple members of the group who are flying from where we are to Malta, and they’re going to fly back. I know the timeframe they’re going there and coming back is really tight, so you can’t get separated from the group with whatever they do when they’re there. But what they seem to want to do is to go to this market and eat these special Swiss or Swedish pastries. I’m more concerned with how will our timing be with getting back. And I think that was when I woke up.

John: The dreaming last night was very much process oriented, they were like work dreams, in that the underlying schematic had to do with how one contends, or is involved with things, in life, and it’s an involvement though that’s based upon the understanding of letting go. But you don’t just let go. You have to come to see why it is part of a greater plan to be in a position, in terms of yourself, to be letting go.

Now, to begin with, the process starts on the path where there is a certain focus and attention. Now, in many instances, let’s say focus and attention is something that has to be established, and you build to that, as part of a way of holding a quality of attention that is needed to break the trance and spells that have you preoccupied. But, in this working dream, it’s now time to take and set aside the focus and attention a bit to a greater letting go.

So you start off with the focus and attention placed upon a type of doingness. Your focus and attention starts off well meaning enough, but it’s not accepting the recognition that everything is already known. Now it’s good that you’re doing this with Lew, as opposed to someone else, because it starts off with the idea, in regards to something that you’re doing for him, that you feel needs to be done, as it is important in some fashion; as if, if it isn’t done, then something is missing.

First of all, it’s a good quality of focus and attention that you have found, but now you have to set it aside because it really has a deeper listening center that’s needed to unfold.

So the next image what you’re doing is the deviations. The idea about there being a this and a that that’s interesting, or significant, is deviation, something you can turn to. That has to be understood in relationship to the shift in the quality of the focus and attention. In other words, you’ve caught up with the focus and attention to get to a particular point. Now that focus and attention has you indulged upon looking upon something in order to kind of sharpen it, or streamline it, or cause something to be that needs to be, but it’s something that needs to stop because you’re attempting to do this with something that actually knows better, and sees better.

And so then the dream tries to hint you on this. In other words, it took a good initial step, you to kind of set the table of things, so that you would then be able to see that the idea about this being a mystery, and that being a mystery, that this is the bed that you had to figure out how to sleep in, so to speak. You know, you’re trying to figure out how to make the bed. That’s where you’re seeing that your focus and attention can still go, and that would be utilizing the kind of focus and attention that you first had to catch up with, but now need to drop and let go because you’re capable of hearing something in a quieter center of yourself, that doesn’t involve having to do any lifting or heavy action anymore. You can do it in a deeper, inner presence spatiality.

So what this is portraying is that, if you can make the shift from this focus of attention which has to do with the idea where you have these things that you need to still finish up, or indulge in, or whatever, if you can drop that, then you get caught up in a quality that incorporates, I would call it a type of stillness in that there is something that has died, or gone away. In other words, there’s no need for that sort of sustainability.

But see the dream is now pointing out that the reason why you had to hold an attentiveness, to a this and a that, is because if, and as, you caught up to a level of stillness that in the next step inside of yourself comes out something that has to be reckoned with because it is something repressed that is too much. In other words, it’s a power, or a quality, inside of you that’s been repressed that’s too much.

Your dream is saying that you have this quality inside of yourself that you’re having to try to be very careful to not fall into, or not awaken, that you are on the path towards having to contend with, that is dark, that deep down you see this dark, dark side that’s more than you can handle, or more than you realize or believe that you can handle.

The focus and attention now needs to shift to be utilized in a new way, and that new shift is a type of letting go, and in that letting go is kind of a death to the action in that kind of motif in which you have been using that as a means, like a defense mechanism means, to keep from unleashing that would come out if you were in a stillness, which is kind of a side of yourself with kind of a dark power feminine energy that you are afraid of, that you know that you house somehow inside of yourself.

If given the choice, if you were making decisions, you would prefer to continue to do a this and a that and a this and a that as a kind of means of keeping that veiled. And if you quit doing a this and a that and a this and a that, that comes out, and that’s something that you’re going to have to reckon with. In other words, we take steps on a path, and this is a step that you’re walking into.

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donaIf we believe that we are capable of having life beyond this physical body, then we will have to concede that we are fundamentally energy, rather than matter. And, as has been said, matter changes and decays; energy, when it is in a state of pure energy, stays the same as it is forever. So for us to get closer to who and what we really are, it helps to begin to see the physical world around us as the theater of possibility, for us to change and evolve our energetic state. That way, when we change out of this physical body, our energy has evolved. That is the work we come here to do. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: In my meditation dream, I went back and had to look at something that seemed like a pattern that I clearly understood, so I didn’t want to look at it again, didn’t want to report it, because it was mundane. But it was almost like I had to go back and re-remind myself that things actually work that way, based upon maybe something that had caused a doubt or something to arise. And the doubts that arise are basically these ideas that we can take that affects things by our loudness, or way of trying to say something about what is occurring around us, as our mind sense appearance to things are.

That’s the doubt, and that when you take that doubt out, so that you don’t have to function in that way, then you come to recognize that without that holding it together, things just fall into light and sound. And when they fall into light and sound, they have a different value. They immediately plummet to an empty space, into an emptiness. They lose their density, and you can’t handle that, and so then immediately it gets reconcretized, remagnetized, so to speak, to holding itself into a plane of concretized physicality.

When you let go, and when you shift, then it loses its density, in that regard, because it is a spatiality that is a greater wholeness. In other words, to go from a concretized state to something that is sound, it’s hard to say that you went to sound, or you went to light, because once you actually hit pure sound you’re just a blink away from pure light, a split second away from light, which is a surprise to me.

I was trying to make definite boundaries, but instead the definite veil is between something that’s concretized, and then, when you break that, and once it hits pure sound, it’s no longer concretized so that that sound and light have close proximity to each other. If you don’t blink, or however you’d say that, you wouldn’t notice that it wasn’t just all light. And yet there was the sound very, very subtly there.

However, because a person keeps pounding down the concretized sound, the closest that they come to understanding sound, as a general rule, is by noticing its effect in terms of how it pulls things, like music pulls things, just like music pulls the soul, draws something, and can draw a change, and that change can draw a subtle shift.

It’s not quite breaking into actual sound and light, but it has a movement that draws the soul, so to speak, still staying stuck within the paradigm of things. And yet people seem to think that that is steps towards consciousness. It has to fall away, because that is a pacifier, just like there’s all these pacifiers. You have music, it’s a pacifier, TV is a pacifier. You have all of these pacifiers. If you can let go of all of these pacifiers that you lean on, and indulge your attention into, and your senses into, in soothing ways or whatever, you will notice that it is quite possible to have out of time experiences that can jump so much that you can have the flash of light, which really had a sound level to it, but you flashed right through that. You flashed through that sound level right to the light so quick that you hardly noticed the difference.

So to have an experience like that fries the synapses, so that in my sleep dreams then, I had a hard time. I had a hard time relating in my sleep dream. I had a hard time relating because I could never figure out what time it was. I had lost the ability to figure out time. If I looked at a watch it just wouldn’t register right.

And then if I had a sense of what I thought was time, and then tried to confirm it by calling the operator, I couldn’t get the operator on the line. The operator would never pick up the phone to tell me what she thought the time was. And then I would find out that the systems were down. And on and on and on it went.

In other words, it was one of those deals in which the orientation that normally is there, is not there. If I look up the ceiling is falling. Bits of it are just kind of changing and dropping.

The principle thing of magnetization is what makes it real is the opposite of what everybody thinks. It’s the letting go of it. As long as you hold onto the magnetism, you’re lost in it, you’re caught in it, you’re trapped in it. When you let go of it, you fall into a silence.

To step back from the vibratory loudness is to have the potential flicker into the transmit of light and sound. I am describing manifestation as a plane impacted by ever changing aspects of sound and light, much like music affects the outer atmosphere. To break the concretized conditioning is to experience the sound light as an inner essence, which is discombobulating to the outwardly-oriented sensor.

So the theme of the night was to experience the sound light outside of its concretized and magnified outer polarity.

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55efvIsn’t it interesting how we act differently around certain people? We’ll think to ourselves “that person commands respect.” How does a person do that? It is possible because they have made certain choices, and upheld certain principles, in a repetitive way, such that the energies of those qualities have come to live with them in their aura. It is the energetic radiation that we sense, without knowing it, and it makes us behave differently around them. So, what do we want to uphold in our life, and what radiation do we want to carry?  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well I seem to have just one main dream that kind of would repeat, and what happened was last night I was reading a bit, and then I fell asleep without meditating. So, in the dream, I’m in a room with Mark Cuban, and other people like that; it’s like I want some kind of a transfer.

I sit in a certain area and I’m getting a transfer, you know, through the brain, of certain energy. But I keep thinking that it would be better if I’d either meditated, or I’m in the meditation chair, it was okay to get this download. But I feel like there’s a problem with getting the download in the space where I am.

So then sometimes the download stops, or there’s some static that comes in. I’m trying to look at what the issue is. And so in that way the dream kind of repeats on and off. I’m kind of looking at what is the problem, when you haven’t meditated, with this transfer of energy, and finally I feel like the problem is that there’s increased static. It’s not going to be as stable a download as if I were in a meditation chair, in another space. It doesn’t work as well. That was all.

John: What you’re dealing with is the principle by which everything is a vibration, and that vibration reduces and concretizes into an aspected way of being. You’re having to notice how this principle plays out. The subject is one of magnetization. What is magnetization, and how does that correlate to sound and light? But you’re not correlating it yet to sound and light, you’re looking at it strictly as magnetization.

And so had you meditated you would have found a spatiality upon which something is able to lose its linear magnetism. In other words, the principle of magnetization is opposite what we think that it is. A person goes around and they relate to things in a congregated way, in other words, the way something is concretized. They relate to that image of that, and each person is affected by the images around them, and so their attention is drawn to that as a focus of what is going on – and that’s what holds onto and supports the concretized world, and that’s what makes it loud.

And people respond to that in a knee-jerk fashion, and so when you’re responding like that, and you’re projecting like that, you often think that you’re magnetized, but that is not actual real magnetization. Just like when you were taking and noticing that you’re affected by the energetics, or the vibrations, around you, and then you realize that there was something askew or amiss in that because, had you meditated, you would’ve been in a different spatiality, and that different spatiality would’ve been more meaningful.

And, in the outer, people understand magnetization based upon what directly affects them. And, then, as you develop, you come to recognize that you’re thrown around by what directly affects you, so you attempt to work with the magnetization that has to do with the greater orientation, or spatiality. And all the time you’re playing within the domain of something that is still one of sound, and sound that is concretized.

People understand magnetism from the standpoint that if something needs to happen they have to act on it, they have to make their position understood, and that’s usually spoken, or that is usually acted out. And then a person comes to understand a greater spatiality about themselves when they learn to sit with their thoughts a bit, even though they are still going on. So they are still concretizing, but maybe not so loudly.

And then a person comes to realize that if they can get outside of the thoughts, and stop the thoughts, they can have an access to a greater spatiality yet further. And eventually, potentially, break into the essence, the essence being the light and the sound before it has become concretized. But all of it has to do with an understanding of what you hold onto, and the average person, in their insecurity, has to go around, and be thrown around by, the world of their senses that holds onto the idea of the way they portray themselves, and they feel that they have to portray themselves in a way that is heard. And that way that they see that is heard has to do with presence, and that presence has to do with their concept of what magnetism is – and so they go around and they accentuate that.

Not only do they accentuate it, but they have every reason to believe that that’s the way to do it because in this plane of existence people noodle around with practices that seek to accentuate that magnetism – as if that’s the real thing.

You have to catch up with the essence that is a light and sound beyond the motions and the movement. You have to be working with light and sound. And if you’re not, and you’re working with creating a reflection that has a density to it, that creates your conceptualization of magnetization accentuated in a plane of sound, then that becomes a type of spiritual illusion.

The idea of shifting things, the idea of understanding how things shift, was rather interestingly portrayed in that movie we watched, Out of Time.

In that movie it actually spoke of, and portrayed, actual tools, that actually do work. In other words, if you change your mood, if you change your focus and attention, you can actually cause an effect in terms of the way the magnetism of something works. And you can do that within the collective, up to, and including, certain parameters.

It was basically a movie that took time and space and put it into a different paradigm, and it put it into a different paradigm based upon stripping out the self-conscious aspects, and providing one with a degree of letting go, played with the magnetism of things.

It also introduced another principle. The other principle was to watch your breath, or to pay attention to every little thing that you do, and appreciate it, as a meaningfulness, in terms of an inner essence. In other words, when you go through a day go through the day, and then go through the day again, but this time pay attention to what’s going on as you go through the day – as opposed to being on kind of a robotic pattern that has to do with collective consciousness unfolding.

And a person sitting with just their senses as an orientation to the concretized sound effect of how life is created, and thus realize that there is something behind all of that as a kind of liquid light, or sound, that, as you see that, you see it in a different paradigm.

Very complicated subject, because as a first go on this what you’re basically dealing with is the breaking up of the physicality of things. This is how you break it up, is you start to orient yourself slightly differently. You come to look at magnetism slightly differently. You come to recognize that you’re playing with concretized sound, and that sound and light actually are fluid.

You come to realize that they change, that something changes, that there are principles in which the light is impacted; it’s impacted by changes in the collective consciousness just by the bringing in of a new soul, or a change of the life force, and it can change very subtly.

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