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INVISIBILITxImagine we are going to a gathering of people, a party, and we plan to just say hello and then go home. But then we decide to have one drink. Well, we’re having fun, so we have another drink. Pretty soon it’s past midnight and we’re among the last to leave – and we know we’re going to feel terrible in the morning! This is just an illustration of how the world around us can pull us away from our inner, spiritual, location, and, pretty soon we become vulnerable to all kinds of things. Only when we stay in our inner location – out in the world – do we provide a safety for ourselves and our connections. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I only remember my last dream. I felt like I dreamt a lot last night, but I didn’t remember most of them. And the last dream was influenced by a mystery I’d been reading.

And in the mystery, I’m a policewoman, and it’s almost like somebody, it feels like maybe my partner’s the person who’s murdered a girl. So he’s off the case. And he thinks this man that he knew from his childhood, who’s running some kind of a compound where people go and live apart from society a bit, did it. I’m not sure who did it. In some ways I’m not sure that either one of them did it, but I’m investigating.

So I need to sneak on to the compound, and I go there at night. And I notice that there’s some hippy looking girls and people that have come, that are going into the compound at night, either they want to join it, or maybe they live there and they’ve left. So I kind of use they’re going there as a cover and sneak onto the compound, which is a really large compound.

And then it seems to get lighter out as I’m there. And I’m going towards a part of the compound where the man who runs it lives, because I almost feel like he’s in hiding. And he seems to sense I’m there and he sends some men who find me, that take me to the area of the compound where he is.

On my way there, I look off into the distance and I see this really huge old building that almost looks like those libraries they used to build, that have big columns and everything. That’s not where he is, but I’m just interested that that building’s not that far away. And then they take me to an area where he is, and he even seems to have a big carved chair, almost like a throne.

And it’s like he sends the people that brought me there, away because I wondered if they were going to try to capture me, or hold me. And, at this point, he shows me a bus that’s loaded with people that maybe got upset by all that’s going on, and are leaving. And he’s telling me that I can drive that bus away with them.

At the same time, I know there’s other people that come, just as there are some people that are leaving. I don’t even know if the bus is safe, but I suspect it is. What I really suspect is that everybody’s looking at these two people who’ve known each other, the policeman and somebody he’s known since childhood that’s running this compound. Everybody thinks whatever crime has been committed, that it’s one of the two of them.

But I’m actually thinking I’m going to have to investigate more, because I’m pretty sure it’s somebody else. And neither one of them knows how to look beyond what they’re seeing. So I have to go look for it. That was all.

John: So this is a dream in which the decisions that you’re making are actually hard on you. They’re holding you back. They’re pulling you down.

Initially, you have a partner, so you’ve made a step where you drop whatever it is that you were carrying around as a kind of extra aspect of yourself that you don’t need anymore. So that is a positive step.

And then you go into a place where things are in a disarray; that’s like coming into manifestation. And when you’re in this place, you come to know that the idea of there being like a crime, or a wrong that’s been committed, a mystery that exists, you become entwined with that place in that modality.

However, you know that there is something more about this place, in terms of how it’s meant to be. And that is represented by this building that you see, that you’re not far away from, that’s the library. Within that is the, so to speak, answer, a stillness answer, to everything that exists. The library represents the fount of whatever it is that needs to be known, or taken in, or absorbed. In other words, it’s the epitome of the stillness behind it all. But you see it, but you’re not able to let go enough yet to go into that, and so you are induced to take on something in an outer capacity way – which is basically to drive those that are being released from this place.

But it’s a belated thing because, even though you could see and say to yourself that you’re serving or doing something useful, you know that into this place is coming others that are also going to be caught up in whatever is going on here. And you’re able to look at the power presence that exists in this place and realize that it dominates over what can take place.

And what caused you to have to be recognized as a person who could take and drive the bus and such, is you weren’t staying in your stillness, you became visible. And when you became visible, you brought upon yourself the attention that then had a hook, or a means, upon which to avail itself upon how it is, and who it is, that you are. And, thus, you were pulled into some tangent or another.

And in this particular case, because you were visibly seen, the part that was seen was not in a stillness where it would be invisible, it then could be manipulated, or turned, to some aspected mannerism. In other words, you were able to be deviated into that.

Now, the purpose and reason for a dream like this is you can come to see the importance of this space of invisibility and stillness, because within that space, everything then can be affected, in a mirrored-capacity way.

But when you are having to come out, or be recognized, or lose the cover of this stillness, or this mirroring capacity, that is when things go awry. And that’s when you take on identifications again. And when you take on these identifications again, the sense of the dream is going to be a sense of still having some sort of weight upon the heart, which means that deep down, you knew that you were close to the stillness. Had you not been close to the stillness and recognized that, that had its all-pervading essence over everything so that what was taking place would be taking place as meant to be, and that if it wasn’t meant to be, the stillness itself would affect it in some sort of mirrored-capacity way. It wasn’t for you to take and try to change something, or to conduct yourself in some way or another in some aspect that you might have that purports to alleviate things, when you know deep down that it doesn’t at all.

That what exists is going to continue to exist, and that you just got abstracted into something that you felt was providing some sort of justified relief. In other words, you had lost your importance, you had become stigmatized, because you had become visualized – instead of in the stillness and the emptiness.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Space of Invisibility

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00rrf6In chase dreams, sometimes we are fleeing to avoid something that is new and unfolding in our inner life – that some part of us feels we are not ready to face. Other times the chase is because we are trying to outrun the clutches of the old patterns and ways that are preventing us from progressing on our journey, which is the case in today’s dream. Here, we can understand that totally fleeing (denying, in a way), may not be the best solution. Sometimes it is best to embrace our consciousness of the issue, and defuse its power over us by shining a bright light on it. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, I remember one dream. It’s like I’m in a jungle area, and there’s a warlord there who grows drugs, and he’s trying to hunt some of us down to kill us. And I’m not sure where the others went to, but I have gone inside this little hut to hide, and crawl under what looks like a blanket of something on the floor, or an old tarp or whatever, and pulled it over me.

And then he has his people out hunting for us. One of whom, they almost look like pygmies, some of these people, one of them this little boy-looking person starts to kind of pull up the tarp, but it’s almost like he’s actually looking through grass, like he’s hunting for me. There’s a hole there, but he can’t quite see me, so he has to keep crawling in deeper to see if he can see me.

And he has something like a blow dart gun, but it feels like by the time he crawls in a certain point, to where I am, he passes out, or he agrees to hide with me. So, because he let me hide, I know that if the warlord caught us he’d probably kill him as well as me. Because I feel like he’s killed the other people I was with, or captured them at least.

So I had the boy pulled all the way under the tarp with me, and he seems unconscious, and I kind of tuck the tarp in around us, and the warlord and his minions or whatever, at one point come into the hut and they’re walking around talking, and maybe they even kind of shuffle the tarp that’s covering me a bit. And I keep feeling like I’m going to get uncovered, but that doesn’t seem to happen right away; there’s just a tension about it.

But at some point, because they’re going to uncover, it feels like I get up and escape out of the hut – and they know I’m loose, now. And they start hunting me, so I have to stay on the run. And I run into the jungle, and I come to what’s actually like a doorway, and it’s a huge wooden doorway. It has actually almost like two levels, you know where the top can open separate from the bottom, and it’s like I’m climbing up it, and maybe I get the top portion open. And then I see there’s another doorway a few feet behind it just like it.

And I finally kind of get through that, too, because I know this man’s hunting me. And what that does is it puts me into another jungle area. And it’s an area where I see even a scene with a slight plain, and white tiger, and another jungle cat there. But up on the hill, I see a man who’s like a movie director, with actually like an accent from Iowa or somewhere, he’s there making a movie in the jungle.

So I go over there. The big cats don’t seem to bother me, even though they’re there. So they feel a little menacing, but they leave me alone. And I go over to where the director is, but I realize he can’t really be any help, he’s just there making a movie. They wouldn’t know what to do with a warlord who’s chasing somebody, or killing people, in reality.

So then I go up through the jungle and I find a little village, and I see the people in the village are kind of natives of some kind, and I go up to a counter. And it feels like I actually buy something and they when they give me back change, they give me change back in at least one big silver dollar and some other silver, I think. And they’re helpful, but I also realize that you never know, that this is kind of one of those port towns where information is valuable. So at some point, someone’s gonna feel like they can sell me to the warlord, or something, and my whereabouts, so I can’t really confide in anybody. I have to keep trying to get back to where I’m going. Even if I like people, I just have to kind of keep on the move.

So I get my little purse with some of the silver coins in it. And this time I leave the little village and I go down to the waterfront. And it feels like several times I’ve gone out on the waterfront that I kind of feel like somewhere along this waterfront will be an avenue back to where I’m going.

And then I run into some people and they tell me they’re trying to sail for, I guess, where I would consider home. I consider them a bit flaky, but I look out and I see the water, and there’s areas where the water has turned this beautiful blue-green color, it’s like ocean now. And I’m thinking maybe I’ll try to go out on that water with them in a sailboat, and see if I can get to where we’re going. And I think that was where I woke up.

John: So, the theme of the dream actually starts at the very beginning. And then you have the abstractions that come off of the theme of the dream.

The theme of the dream has to do with being in kind of an abided stillness. And the whole schematic of the dream process has been more and more information about the stillness, the stillness that is a quality in our true, who-we-are, beingness. And what you’re doing is you’re actually portraying, in your dream, a quality that one came to understand a few nights ago, in which when you have adopted a kind of mannerism, nuance, bifurcation, however you want to say it, that the world around you takes on that quality. You have an agreement world in relationship to that demeanor.

That agreement world, because everything is a composite of the breath going in and out, there’s all kinds of things that can be found along the aspect of the breath, that will add or support an identification to being at a point in the breath. And when you’re at any point in the breath, you are, then, living something in manifestation, and have that as your world. If you were to see the stillness in relationship to that, it would be like night and day difference. But, instead, you experience kind of an echo of something that you’re trying to get back to, as if you still carry the memory of the thing at the very, very beginning.

Well what is really interesting, and positive, about the quality of the bifurcation is that you have the ability to bring it in, to, so to speak, pull it into your nature enough so that you can fully take on the bifurcation – as if you can then pop it. And that occurs when you, in being lost in the abstraction, take on one of the minions of the abstraction that is normally part of the problem within the abstraction. And you’re able to try to get it to come out of its unconsciousness.

And it isn’t quite able to come out of the unconsciousness, but you’re able to take it in. That’s like a hint and a hope that, okay, you can drop this. But that’s the only aspect that’s kind of positive in terms of you almost breaking through, because the rest of the dream has you still under the dictums of the effect, the vibratory influence that has you going this way and that way, this way and that way, continually contending with something that is there. But the fact that you, at one point, were able to usurp one of the minions, even though that wasn’t quite sufficient to get the energetic out of it that takes you back to the stillness, because it was in an unconscious state, and mode, it was a big hint to what is subtlely echoing behind all of this.

Now it’s a very subtle echo; it’s something that is so subtle that you can’t quite just go into, but it’s there, even though you have this whole dance, and array of things, that is consuming your attention in terms of you having an identification, a reactivity, a mannerism that is still caught on some aspect of the breath.

The key that’s interesting is to try to take and look at what aspect of the breath is it caught on? It’s not caught on the out-breath. That’s what’s interesting. It’s only caught on the out-breath to the degree to which you are perhaps trying to do something, but it’s more caught as a mannerism on the in-breath. Why is it denoted as something on the in-breath? Because you’re haunted, you’re afflicted, it has a quality that affects the way you carry yourself as an energetic, your mood state, and such. And all of that is oriented as kind of a spiritual illusion aspect of the in-breath, the thought process and the mannerism of something coming through. It does not have any qualifications to it, it doesn’t have any judgment, necessarily, in terms of value orientation. When you are fleeing something, and trying to push something off, you are doing all of this based upon some sort of value identification orientation. So, it is a dilemma, in terms of the in-breath, a veiling, in terms of the in-breath.

And the thing to understand, of course, that is the predominant characteristic of process that has to do with stillness, is that the breath – both the in-breath and the out-breath – are what holds manifestation together, are essential for there to be a manifestation. And the fact that there is a manifestation means that there’s a journeying.

And when you take the breath out, then you have a whole different demeanor, in terms of what you see things, because you’re not imaged in some sort of bifurcation of self that you look at, and identify with, and relate to. You are, instead, in something that has an overallness, an all-inclusiveness, an intertwinement, and are able to be just unfolding, as opposed to reacting. You’re just unfolding, because you’re able to be in the stillness as your primary attention, as opposed to it being a very faint, having to wonder where it’s at, still in a bewilderment kind of distant echoing that is being drowned out.

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

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downloadWhen we reject, or dismiss, things we have set ourselves up to have to deal with them again in the future. That’s true for us as individuals, and it’s true for us as a civilization. The better process is to accept something as it is, and to then proceed from there, whether that means making efforts to improve it and refine it, or deciding to leave it as it is, or to let it wither and fade away from energetic neglect. Kicking the can down the road may make us feel better, in the now moment, but who knows what that can will come back to us as at a later date. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I had a headache, which kind of interfered with my dreaming last night. And what I remember most about the dream is it felt like I was trying to get away, or help some other people get away also.

And we ended up down at the convention center, where we were yesterday, but these four or five people had gone into a different area that supposedly was somewhat locked, and I wanted to get them out, but the only way I could think of getting them out is if I could rope them and pull them out.

I remember that part, and other than that I don’t remember the details as much as I feel like, in the dream, I was trying to get away, and making different moves to get away. But I wanted to get them free, too. I just remember the impression more than the details.

John: Well, what you’re dreaming is the first thing, the first part, in other words, whenever you’re confronted with something that is a bit overwhelming, or is going to take time to understand, or grasp, or catch up with, to absorb, the first reaction is kind of a defensive reaction. Whenever you’re presented with something that – speaking of it just in a great big general sense – is something that you have to, somehow or another, take into account in terms of your overall perception.

The challenge that you’re presented with, and it’s almost as if it’s always an over-the-top challenge, the challenge is to be able to put it into a stillness, to be at peace, or at rest, with it. Stillness is not a place that has a lot of tangibility to it because, with our senses and whatnot, we’re drawn out of that.

Yet whenever anything comes up that is affecting our perceptions in some way, that causes us to have to ponder, or see, and look at where we’re at, in relationship to the situation, our reaction, our tendency, is to do something that has a defense mechanism orientation. And everything that takes and works outside of pure stillness is a defense mechanism reaction.

And that every dialogue, every discussion, everything that goes on has underneath that, ladled underneath that, is a quality of separation that is a defense mechanism way of being. And rarely is there is a situation in which there isn’t something like that that exists.

So, on this level of unfoldment, that’s what the buying and selling looks like now. It’s a reaction that has that as its modality.

So you were essentially dreaming of being in an orientation in which you were presented with the option of letting go of it completely and being able to stay still with it, and not be affected by what was happening, or having to adopt a type of step-back position. And so you were looking at, and it’s important to look at this stuff, too, because it’s part of the path of looking at the degrees and in the areas in which one takes a step-back position. In other words, this is another octave.

See, most people’s understanding of stillness has to do with being able to be quiet, and watching, as if they’re gathering more information and holding a reserve. But there is another level of stillness in which you don’t even do that as a defense mechanism. Can you see how you were watching that?

It’s a good spot to look at. It’s a good way to look at things. What is good about that is that enables you to accept everything, and, when you accept something, then that leads to a stillness – because not being able to accept something in some capacity or another is a step back. It’s a type of defense mechanism.

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

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