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Archive for January, 2020

windsages

Winslow Homer

What is the difference between a casual artist and a great artist? In the simplest terms, it has to do with what the person is connected to when they do their work. Whether they are conscious of it or not, the great artist is bringing the unseen worlds into what is physically produced, imbuing it energetically. And it is that energetic that moves people when the work is viewed – and it can last for many centuries and still move people, because it is universal, not temporal. We can view our own life in the same way: do we live casually in the physical realms, or are we connecting the unseen worlds into our life, raising it to the level of art? (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, that’s maybe like the Parks Department. And 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, and some areas where people can come and swim and things, and 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 bronzed, bare-chested mermaid figure, kind of like the ones that they put on the prow of a ship, and a little row boat half-buried in the sand. And that’s kind of the overall theme of the painting. 

And 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. And then after he goes back to the office, I start thinking about all this, and 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, in terms of their colors, and what’s actually shown 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. It seems like I know somebody that is a better artist. So I get together everybody again, and go down to the beach for another 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 the mermaid and all that. 

And when I think about how the beach really should be used by families, and how it really looks, and what this painting 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? 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 and 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, then, 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, or made into like a ship, or a mast, or whatever, as a reflective re-creation of a vibratoriness that doesn’t really exist. 

And so you have an uneasiness in both sides; you’re uneasy in regard to the bureaucrat, and you’re uneasy with regard 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 the 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 is 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 an 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 the inner and outer, right? Brings the two together. It’s nice that you had that dream because it kind of helps put things into perspective because I went to both extremes.

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

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Pico Iyer

When speaking of an inner stillness, it may seem hard to imagine how we might get through a busy airport in that state, or manage any stressful situation. Yet if we understand the laws of energy, we will see that when we add our intense energy to an already intense situation, we are actually feeding the intensity. Just as when we get into an argument with someone, the back and forth feeds the original spark and makes it worse. So when we remain in a stillness, we observe the energies of other things, rather than feed those energies. Said another way, why would we want to feed the things that make us stressed out? (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 out 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 and 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, or somehow? 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 a plane of the soul, which is where surrender and non-being 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.

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, playing out the vibrations in 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 get rid of the vibrations 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.

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

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i009swIn this dream we have the image of moving back and forth with a hose, and every trip just gets the dreamer and the hose more tangled up. What this is speaking of is how we involve ourselves in the outer, by placing the importance of life on external things, and all that can come of it is endless entanglement. On our journey we want to be untangled from the grip of the physical – because the physical is always temporary. We want to put the importance of our life in the energetic side of things, which is eternal. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: Well, like I say, the theme of the dreaming, I never know what the theme of the dreams is going to be. And then I come to figure it out, and then I generally reflect back as to what triggered it. And what triggered it was, I was bothered by a talk that one of Dean’s students gave at the center. 

And she has been around for a long, long time, and is up in age. And she kept talking about things as if you take and have an effect, as if there is something to do with things to be done in the outer. Or ways in which there is a balance that’s attained in the outer. And it doesn’t ring right, because it’s in the opposite direction of the stillness. It’s as if you can find a stillness in the outer by looking in the outer. But you find the stillness by looking within. 

And so this became the seed thought for my dream. So the way my dream worked, that was the sleep dream that is, is that 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. And you can cuddle it, you can cradle it, 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 on this side 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’s a man and a woman. And, as far as I can tell, they seem 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 – because I’ve come up and over and around, I have to come out of my entanglement – so she pulls the hose away.

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 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 that. And so it’s like the scenario going back and forth to and fro, which is both exhausting and debilitating, is an illusory reflective effect that kind of grabs your attention, can predominate in a way that 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 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 within as the heart of hearts embraces. In doing so, the vibrational nuance is an 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

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

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