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Uri Dushy

Sometimes a dream provides the perfect metaphor for our spiritual journey. Here we have a father searching for lost children – parts of himself, because we are all the characters in our dreams – who are so estranged they may not even recognize him. To find these parts, and bring them back into safety, requires following a river, with water representing the unconscious life within, through a difficult landscape. Yes, in development we sometimes have to face some of our personal issues as a way to regain aspects of our lives that have been shut off from us. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In my first dream, which is extremely hard to pull out, I feel like I’m a man and I’ve been separated from my family, particularly my children. I think there’s three of them, who are traveling some distance away, and I’m trying to get back to them, or find them and bring them back. So I have to travel a lot of distance over rather difficult landscape.

And then I’m concerned that when I find my children they won’t remember me so they won’t know to come with me. But I do find the children, you know, but then I have to get back, and it’s almost like trying to get back following the Mississippi River or something. It’s a very difficult landscape, in a way, with some concerns about bringing the children back along that landscape.

I can’t have a lot more details than that because it just was one of those dreams that was extremely hard to pull out. It kept fading away on me.

John: Well, it’s one of the qualities and aspects of the soul is that it has to be able to take in everything that exists all around us, all parts of ourself. And it’s unable to do that if the heart’s afflicted in some fashion and, whatever that fashion is, always then is a fashion that has a renunciating quality towards something that is us.

In this case, you have a dream where you can’t catch up, or find, who you are in the wholeness of things; in other words, your children and such. And the Mississippi River is like a thread that goes through existence, through manifestation, as if it’s the means upon which you can resurrect yourself.

Well it is kind of true – on a symbolic level. You do have to be open and receptive to all parts of yourself and, if you have some reaction, or some huge woundology, about some part of yourself you’re going to shut it off. And, if you shut it off, then you’re not going to remember where it’s at. You’re not going to be able to find it, and then you find yourself having to follow the Mississippi, follow the thread back.

And that’s the nature of being in a human body: we come in with this dilemma, having shut off our connections to parts of our self, and that we have to realign and acquaint ourselves with those parts of our self – back in to the wholeness again, or otherwise we sit and we juggle things that are reflective, and we just juggle, and juggle, and juggle, and juggle and go around and around and around and around.

And the theme, and the key element, to the dreaming is the vibrational thread behind all of this that has to do with how it is that the heart is resonating. The heart can resonate with a certain joy. What’s interesting is that the feminine note of the soul is to try to have a comfortability in terms of the environment, and the thing is that’s like a materialistic thing in that you can never get it balanced, and it goes on, and on, and on, and on and on, and it can get to the point where you throw yourself into a whole other neuroses and another spasm about the whole thing.

But because it is pointing and aimed at something in terms of a wholeness to the huge overall, to all there is, so the feminine nature is always trying to find that cadence, that recognition in manifestation. And, as that is going on, is realizing that there are relatives, or parts of one’s self, that are missing, that you can’t find, can’t tell where they’re at anymore.

The key to understanding or recognizing that you get to a point where you can’t tell where something is at anymore is correlated to the fact that one takes and puts into their heart a reflective condition. And when that is in the heart, and in the way, then you can’t see the big picture. You only deal with the here and now in a physical sense, reflective way, of the reflection and so when it’s like that what you can perceive is very, very little, and thus you haven’t a chance at finding the missing parts of yourself when you are responding to the reflection – and answers for the reflection – as opposed to going back to the depth inside of yourself to see how it is that you generated that event.

It is also a barrier because you can take whatever is a little uneasy and try to just throw it in the hopper of that greater family-like balance and not confront certain conditioning, and certain mannerisms, that you have in your nature. And if you’re successful enough at that, then something really big can hit you and knock you for a loop that is a real blindside. So I think our themeing of our dreaming and the actions and mannerisms have to do with going back and contending with these sort of things almost as a biofeedback mechanism.

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

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Pierre Marie Brisson

A battlefield, or a war zone, is a strong image to have in a dream. Whether we are speaking of waking life and the wars that are always happening, or the war we personally wage in our life “against” the struggles of the world, or the internal war that is at the heart of our spiritual journey – the war between the ego temptation and gratification of the personal, and the expansive connectivity of the universal. Only one of these options is worth fighting for, and only one of these options makes the other two inconsequential by comparison. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So, in this third dream, it seems to take place in a foreign area that reminds me of maybe medieval Japan or, you know, it feels like a time long ago in a country that almost has a fairytale quality of China or Japan.

There’s been a war or something going on in that land, and I’m with people that have been surviving during that. It’s time to get out, and I think there’s three of us or maybe there’s… Well, there’s a little dog, there’s a man, there might be a boy, I’m not even sure which one I am in a way, and it feels as though it’s a time maybe when they think about the war as having ended and they’re getting out of the country, or the countryside, and we’re looking at how to venture out.

And I find a horse, and put the dog up on the horse, and then it feels like one other person can ride on the horse and one person can walk alongside the horse. It’s a big horse, but everyone is a little worn out.

But as we go across the landscape, I suddenly see some water trickling in and I realize that what we think is solid ground, the person who maybe had contracted with the government to build that section hadn’t really done what they were supposed to, and I can see that it’s going to wash away.

And then it feels like I kind of fly out over an ocean, or water area, and I see bodies in the water. And I see the crocodiles, actually, like I skim the water right above them. And it’s as though I’m looking to see what’s in the landscape, or where we can go, but there’s really not a sense I’m not sure we’re going to make it, actually. It’s not like I’m worried about that. It’s more like I’m going out, and scouting, and looking around, and seeing what kind of chaos the entire land is in. The way it’s been devastated by the war, and by people not really doing things the way they were supposed to have done them, like the contractor.

But we’ve done the best we can. We found the horse, and I’m looking for a route out.

John: So the horse is a power, and the horse is a presence. And that presence is all-effusive. And it’s meant to be of a quality, meaning all-effusive, it sweeps through everything. It’s meant to have a quality that, in doing this, it pulls everything within. And, if it’s not capable of pulling everything within, then you’re going to have crackup, or you’re going to have a breakup, you’re going to have a situation in which things are going to fall apart.

And so this is like a big jump dream. You jumped over something. How is this possible? This is how things get changed and shifted in a very, very fast way in the outer. The shift is from the inner. The shift is from the essence. The shift is from the stillness. The shift is from a quality of a presence that is so all-effusive in its wholeness, and in its stillness, and in its quietness, and in its emptiness, and as a light that it takes into account everything – or can take into account everything.

But you’re seeing that it hasn’t yet. And you’re seeing that there are things that are falling off by the way boards, and getting swept away, and things like that. That chaos still reins, that the breakdown is continuing to happen.

Now, you have to put this in conjunction with, let’s say, the first dream, because the second dream was kind of like a blowback thing where you’re dealing with the dynamic of something, and you’re going back and forth within the dynamic of something, back and forth in terms of yourself, to see if you got the spiritual muscle or something – as if there is something like that. That’s still reflective a bit.

That’s the middle. So it’s kind of like you did a one, two, three in which the third is the new information of how something can just be shifted and transformed by a quality of wholeness.

The second has to do with the price that’s paid in terms of how this goes back and forth in relationship to inner and outer, and it’s very straining. And we come with an outer physical conditioned body to have to try to do this, and can only do it up to a point because the name of the game is you are placed in the reflections and then trying to work out of that.

To the degree that you don’t, I mean the body pays this price little by little. And in the first dream you were dealing with something that was a zone. In other words, for whatever reason that was both inside and outside of time simultaneously, and something that’s inside and outside of time has the characteristic and the quality to be able to hold the wholeness of the environment that it is surrounded in. And if it doesn’t, like in the example of someone tipping over in their chair because they couldn’t handle something going to a greater level of stillness acuity, and they still had their outer defense mechanism that required a certain degree of commotion, or chatter, of the density of things.

So what you’re seeing is that you have to have a quality of the heart. Is it the quality of the heart? Yes, it kind of is because the heart cannot be affected by reflections. The heart has to be in a state that’s able to hold whatever comes as reflections at it, because if the heart still has to vie with something then it will get caught not being able to fall into the emptiness, into the spatiality, that has the power and the presence like a horse, that it can affect all of the land, meaning the land in this case everything that there is.

Because if it can’t, if it doesn’t, and you do know with the horses like you say in that dream, you found the horse, but if there’s the flickering, and then it isn’t sustainable enough, then there’s going to be breakdowns or, in this case, continuing collateral damage.

You know if you think about it, it’s what grieves a teacher, because he realizes that things are continuing to breakdown. You know, people try to throwback: “Well, there’s always grace,” and stuff like that, which, okay, sure, yes, there’s always grace, but haven’t you noticed we’re still breaking down, we’re still destroying ourselves, we’re still not able to shift in some capacity, we’re still not able to fully take a responsibility of a wholeness on an energetic level within, so that the effect of all of that permeates as an emptiness, as a nothingness, and replaces the dance of all of the reflections.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Replacing the Dance

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imag022esAs a rule, we rarely give ourselves time and space to adjust to events in our life. There always seems to be a pressure for things to return to “normal,” whether pressed for by others, or desired by us. Yet we are very sensitive life forms, and every life form needs to find its point of balance and equilibrium – especially after dramatic shifts or changes. And this is as true for inner events as it is for outer events. It would be great for our health to become more aware that we are always in process with many, many things – some to rid ourselves of, some to assimilate, and some still we are yet to reach. It’s a process, not instantaneous. And it can’t be any other way.  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So I had two other dreams. In one dream, I seem to be helping take care of some people that need to live in group housing. And, the way it’s structured, there’s one kind of building in the back, and then maybe some lawn or something, and then there’s another similar building where people stay. So it’s almost as though these are people that are either elderly, or handicapped, and need a certain amount of assistance – so I’m one of the assistants.

And there’s a woman that I’ve been working with to help her adjust to living in the group housing, and it feels like just as things are starting to go better she moves back into the building in the back where she had been before.

But when she goes back there, there’s some younger people, or different configuration of people, that have moved in and she’s having a lot of trouble getting along with them because they’re maybe a little louder, or just different. And a woman who’s overseeing all of this is talking to me, and explaining to me, that there’s not a lot I can do about that. The problems that she’s having with adjusting, it’s like I had done my best to get her to adjust to the house, you know, where we were, but it’s like she’s chosen to go back, and that where she’s gone back to has changed.

And, of course, you know, she doesn’t like the changes, but there’s nothing much I can do about that. It was kind of like her choice.

John: So what you’re dreaming about actually has to do with your attention being upon something. And so when one takes and looks at what your attention is upon, the thing that comes up is: you can be appreciative of an effect that takes and causes you to open up or move inside. However, unless you hit a total emptiness, it is still process-oriented. As a consequence, there will be things that will drift into the situation and cause it to suffer.

Now, you’re looking at the situation as a suffering that occurs as a kind of blowback effect, and it’s a strange way that you portray it because the image that I saw was that in which like maybe the way of saying it is let’s say Ryn has a certain effect upon you. You learn something, you grasp something, it awakens something, it’s refreshing, it’s exciting, or whatever. However, when it comes to Ryn, she blows back and gets caught in the blizzard of things. She still has to fight her way in terms of the blizzard of things.

So she gets a momentary reprieve from it, in which there is able to help create an inflection that still has its effect as a kind of reflection inside of you, because you’re looking around and understanding it, and coping. It’s like moving things around a little bit. And the blowback effect of that, because the object is to have the pure touch, to have the pure emptiness, the pure awakening that puts you into a zone in which you really totally let go – like the image of the first dream.

When you don’t have that there is a collateral effect. And the collateral effect depends upon where you’re at in the physical conditioning of life. And it’s like the collateral effect on some teachers and people who have reached a particular point and that’s it, and they experience the collateral effect, they lack something in their nature to be able to assimilate it, to take it in and let it go. And it tears at them.

I saw in a flash a lot of different teachers getting affected at the very end of something, where they lacked a certain key because of the physical breaking down of something. Now, what causes this? What causes this is that it is extremely difficult. This is a step that has to be taken. It’s extremely difficult to be able to be in an emptiness in relationship to everything around you, to be in an emptiness, an emptiness in such a way so that it doesn’t set in motion something else.

So here’s the problem that comes up. Let’s say you’re relating to somebody that is fairly linear and fairly dense, and you choose to relate to a person that’s like that. That has a tendency for more crackups because the person is not able to let go enough inside of their nature to be able to maybe take on a particular light without a defense mechanism. And when that defense mechanism hits, the reaction that they have is like a type of poison, it’s like a spell.

And none of this is intended, it just is how it is. And so if your physical condition, the nature of what your heart can take in, is worn down, then the blowback effect, instead of being something that you can absorb, or just take in, and let go of into the empty space, if you can’t let go of it, if you lack the fluidity that you normally had, it gets caught in the bile or bladder of your nature yet. That’s how I saw it in the flash image, and so it malingers upon you. It tears you down, it causes you to suffer.

That’s the deeper quality of this, and you were kind of dealing with the deeper quality because the dream you told created the image of a blowback.

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

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