Dreams don’t always have a Hollywood ending. Sometimes the scene begins in a perfectly reasonable way, but then it devolves into struggle and confusion. Why does that happen? Usually it’s because we are resisting some connection that our inner life is trying to make. And when we resist, what once was a smooth flow becomes a forgotten item, and, then, a forgotten home. What might this say to us about our waking life? (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: I remember three of my dreams. I know there was another one before it that I forgot. In the second dream I had, though, it feels like I’ve gone into an apartment complex, and people in this apartment complex have been assigned into rooms with other people – almost hoping that they’ll make a match with the person that they’re with.
So I’m in this room, and there’s a man who comes in, and like he would be on a sofa, or a sofa bed, that was kind of perpendicular to the one that I’m on. And we’re visiting and everything. And we have a good visit, but it feels like that at some point I want to go to sleep. And I realize that I feel like I maybe am already in a relationship, but that he would be a good match for the woman who actually lives in the apartment, who’s a friend of mine, who’s not there right then.
So I feel that he’ll meet up with her and that they’ll make a good match, but we’re not really making that good of a match. And, in the morning, it feels like we make up the apartment and we kind of switch it back to how it looked when she lives there. And she even comes by. And I leave for a moment, and I meet a woman that had been the one who has the keys to all the apartments in the building, who placed us there.
And then I remember I’ve left something in the apartment and I want to go back and get it. But I can’t remember the number of the apartment. I’m not even sure which floor it was on. And even though she has keys everywhere we go, it’s not the right apartment. And then I realize that it’s probably going to look different because the woman who lived in it had rearranged it. So I just have to let go because I don’t think I can find it anyway, since I can’t remember the floor or the door number.
I mean, I keep thinking it was 208, but it could have been 408, or 608 or something; I can’t seem to find it. So I just have to let go of it, whatever it was I felt I’d left there. And that was the first dream I remembered.
John: I was mostly working on timing, last night, you’re working on spaciousness. So you’re trying to find an orientation in terms of how it is that you’re situated.
And the thing about spaciousness is, spaciousness and doingness become one and the same, because when you still have a meeting that they work hand in hand, like flip sides a little bit. Meaning, if you have a spaciousness issue, it means that you have to identify something, you have to be identified in some particular way. And you have to catch up with that identification, or denote that identification, on your in-breath.
You denote that quality of where you’re at in terms of bringing something through, or bringing something into a succinctness, that’s timing. You have a tiny element to that, but you’re mostly, your dilemma is mostly one of having to contend with a spatial orientation. Because you don’t break through the spatial orientation, you find yourself looking and trying to catch up with that.
Now, I said that the theme of the dreaming a little bit for me was timing, and that would have been my sleep dream, which I was sitting and kind of pondering but didn’t write up, and didn’t pull out. What I actually dealt with was the quality of going beyond the breath to where you had a stillness in which your timing, or timelessness and spaciousness, resides to which it’s impossible to make any kind of report, per se, because you aren’t putting this on some aspect of the breath.
What you’re dealing with in terms of the spaciousness is some aspect, some point on the in-breath yet, that you’re searching and scoping in terms of trying to find the greater breath of it. From a standpoint of timing, which is more in the nature of my sleep sensation of things, that has to do with being able to find a way, or to deal in a way, with what is out there, in terms of the timelessness and spaciousness, except under a timing quality you’re looking at the modality of something in terms of being at ease, able to be at ease, because you are caught in some sense of aspected flow.
And that’s the nature of timing, being like that, has you attempting to take and direct or to steer something in some capacity. The quality of timing has a lot to do with the co-creator part of oneself, where one is working with the variable, working supposedly with the flip side half of the breath, the out-breath of it, in terms of the spaciousness.
When there’s a spaciousness conundrum, there is a timing conundrum; it’s like they kind of have a one-to-one correspondence a little bit. And so, when there’s a spaciousness conundrum that you’ve taken in, in terms of the wholeness of yourself, and spaciousness has to do more with the past, your presence in an overallness, who you really are in a quality of something that you have repressed, or hidden.
When you take on the quality, when you start playing with the quality of who you are, you’re dealing with the past, you’re holding on to the essence of all there is, which is like a past. The timing quality comes in where your sense of the past then takes and you try to utilize that, utilize this spaciousness now. You’re trying to do something with it; that’s what the timing causes you to do.
To be in the moment, or to be in the stillness, is where you can be in a state, or be in a way, in which there is no time or spaciousness that you have to contend with. And that’s the stillness.
That’s the moment. And that’s the aliveness that is a type of all-pervasive way. It’s omniscient, too, because within the stillness is the connection to all there is, but any form of omniscience – meaning acting out with a knowingness – gets into timing, again, because now you’re trying to cause something to be denoted.
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