A Creative Thing

m5_13On our journey we are constantly shifting between our inner life and the outer world, as well as moving between our masculine aspects and our feminine aspects. This is the process we used to manage our life, resolve issues, overcome barriers, and keep moving forward. We are not meant to be one way all the time, we are designed to develop the tool box of our possibility to its optimum capability: mind, instinct, physical senses, masculine and feminine aspects, intuition, clairvoyance, and more. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In my first dream, I’m in this rather large building that some people live in. But the building has like trolley tracks that run through it. In other words, it’s almost like if you had a level roller coaster and little cars that you rode in, which means that when they go from one room to another, and you go through doors, which way you can roll will depend on whether the doors open out or in.

And I’m looking at a couple that live there, and where they are now, but I realized that I feel like the order of how they are, whether the woman’s on the right, or the man’s on the left, or how they are, is off. And I’m trying to decide what the problem is, and that means that I have to go back through the house and figure out which way the doors swing, whether they swing in or out with each room.

And then when I find the room that they emerged from, and I realized that the doors swing differently than people were thinking, it feels like that means I have to change around the order of whether the woman’s on the right or on the left. It may also mean that I found someone I was looking for. But it just took me a while, because I had to go to each room and look at how the doors were swinging, and make a decision on how that affected the situation.

John: I’m trying to sort out two things, in that there is, in life, things that come into a knowingness through the subjective, which means that that’s the trait in which something is at a natural wholeness as a depth within the inflections of what is called manifestation, within the reflections, within the vibrations of manifestation.

Underneath that is the wholeness that is subjectively there all the time. And so, whether the woman is on the right or the left is playing with this quality of subjective or objective. Something that’s subjective is like a seed thought that comes down and through and touches. And the objective is the space upon which something naturally already is.

So the thing that is going on as an action there is really not the action that it appears because that’s the natural order. So you have something that is embedded, which means that it opens from within, subjectively, or the door can swing and be affected in terms of the quickening from a vibration that comes like a seed, objectively, into the equation of things.

The whole thing is then held within the container of the heart, which is like the overall house, and yet there are these various rooms where things intertwine and go back and forth in kind of a honeycombed effect. And the quality that does that is these tracks. And that’s the part that I’m trying to catch up with, in terms of how it is that these tracks are, and the tracks just seem to be something that is there, the tracks just seem to be a means that maybe what they represent is the stillness.

And what you have then is just vibration that has risen up and is in the overall equation of the house, and its honeycombed way, and is intertwined, and intertwines, based upon whether the vibration that rises up and now is – as a vibration manifestation – whether that manifestation is something that is associated with a seed thought, or an essence, already subjectively in place.

In other words, it’s almost like you’re talking about a process as well how of how a soul is made pregnant, or how it awakens. And so you have the tracks that are there as a given, and that the whole action has to do with the way the doors open either inner or outer, and all of that seems to have a relationship, an intertwined relationship. And the consummation of that, as a way of being, is the stillness. And the eyes and ears of something, the way of denoting something going on, is the swinging doors and whether something is subjective and objective; that’s the chemistry of what is deemed to be manifestation.

And if you were to take the vibratoriness, the energetic, out of it, you would not have manifestation because manifestation is the energetic living itself out. It lives itself out, and is, then, what is called manifestation, because when it’s not living itself out as manifestation, it sits in one place. It is a stillness.

But maybe one doesn’t need to go and dwell so much that way, and just recognize that what you’re doing is you’re talking about the journey, the process upon which you sort things out and work through the effect, the vibrational illusionary effect, that is visible, seeable, recognizable and is a creative thing called manifestation. And the qualities of that, the complexities of that, whether the doors swing this way or that way, or if things are subjective versus objective, is just the mystery that you’re portraying as the setting.

Perhaps that’s as far as one dare go with it, instead of trying to see what the stillness is behind it, because it might not quite work; the tracks are maybe just there, and have not yet necessarily transformed themselves in a clear enough way so that one could just turn around and say that that is the stillness.

Instead you have the drama of an unfoldment of an awakening that, ultimately, goes and finds itself in the stillness, as the place from which it all comes, but, until then, there are the idiosyncrasies. Just how all of that sorts itself out, but that aspect is still evolving to where it can just then be in the essence of beingness, one beingness, of a stillness.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: A Creative Thing

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