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Archive for the ‘Fundamentals’ Category

Rescued_from_an_eagle's_nestFairy tales, myths, movies and dreams all use the scenario of a rescue to tell a story, or share a truth. And, when it comes to dreams, we are always rescuing ourselves – or specific parts of ourselves. Think about it: how many of our inner aspects have been lost to us through our prior experiences and the psychologies they create? On our journey, we want to reclaim as much of that territory as we can, so that our lives can be as full an expression of our potential as possible.  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I wish I could remember more details about the beginning of this dream. I’m somewhere, and it’s almost like a place where things are run by someone who’s a little bit of a strong arm. And I want to get out of there.

And, in order to get out of there, I need to get his two kids. And I think I get him, too, but first the thing is to get the kids; there’s a boy and a girl. And it feels like I have one of the female servants colluding with me. I go into a room and I know I knock one person over the head, a guard, and tie them up. And I have maybe the female the servant, so we’ve gotten the girl free.

And then I have to leave her somewhere. Then it feels like her brother’s even helping me – someone’s helping me, some young person’s helping me, anyway. Then I have to go get the other kid.

Then I had to go to another house, bodyguards and people were kind of swarming around the house, so I have to crawl up through the garden, and I see people come in through a door, but again a kid comes and shows me how to go in through a window.

And then we get the little boy. And it feels like maybe we want to take his dad with us, too. I’m not sure about that part. There’s someone we take with us. Then we have to sneak out of the house. Then we have to get all the way to where the little girl is, and then we have to get out of town without getting caught.

John: So, what this dream is showing is that you have this side of yourself, this young, innocent, established, inner side of yourself, which is represented by all of these kids, both boys and girls, both masculine and feminine.

Often times, in a dream, as part of a process, the initial dreams will have you looking at first the ominen and then the ominous side of yourself as something very, very youthful that you have to catch up with. In this particular dream, what it’s showing is that you’re able to catch up with this side of yourself – and you don’t have to knock anything over the head, or, that by knocking something over the head, you limit your potentiality of catching up with this inner quality of yourself.

In other words, it starts off with you thinking that that’s how it is that you’re rescuing something, but, in that process, you only are able to catch one kid, or catch up with one kid. You’re only able to deal with one part of yourself. In that case, what was the kid that you caught, was it a boy or a girl?

Jeane: The first one was a girl.

John: So that’s a sense that you think you have to have in terms of dealing with your feminine nature. But then the dream points out that you actually limited yourself by doing that, because now you’ve set something on guard, or on aware, when it comes to the other parts of yourself. And so you’re in need of having to get help in that regard.

And so it’s a boy that helps you figure out how to reach the other. So it’s as if you now need a clarity now, in terms of how to deal with it, because you’ve done something to avert a more natural flow.

Well, the way the dream ends, though, is the dream ends in that if you can sort this out and catch up with all of those parts inside of yourself, you’re then able to rescue the adults. That’s very interesting. To start off with, you view the more grown up, or outer part of yourself, as a problem. And the kids inside of you are actually your inner side, your more speeded up, more dynamic, your quickened, your more alert, your more viable, your fresher, your more innocent innerness of being.

And the adults are your outer, and so it’s as if you’re trying to solicit the help of the… you’re trying to pull this inner together, and you’re doing it in such a way that struggles with the outer. You’re actually doing things that hurt the outer, and thus inhibit the capacity of yourself to bring the inner, and all of its qualities, together.

And even though you foiter and fumble around like this, you do catch up with what’s needed, and essential, and necessary because, in the end, even though you make it a yo-yo approach, you get the kids and, in the process, you’re also then able to take into account the outer – or the adult side of yourself. Isn’t that an interesting dream?

Now, depending upon the tone in which you dreamt that, it could be like a teaching dream, and a guidance dream, and it could also be a type of warning dream. In other words, if you were critical of yourself you could see this as a type of warning dream, in which what you’re doing is making it more difficult to catch up with the kids – if you’re overly critical with yourself.

If you’re more accepting with yourself, you will realize that it’s a process dream that is giving you information. And if you’re neutral in terms of looking at all of this, and accepting the guidance, it’s a guidance dream. Isn’t that interesting, that you could take it one of three ways?

And you’re meant to grow, and learn, from this as a modality, or process, of unfoldment. Very good dream.

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

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screen-closeupAre we ever truly ourselves? This dream looks at the subtlety of the mechanisms we use in dealing with life, in the sense that we’ll filter the way we are to accommodate the feelings of others, or speak differently because of the expectations of others, or even change our opinions because we’re hoping for a certain outcome. All these subtle maneuvers take us away from our natural state, and our natural ability to respond. And we can’t really be in the flow of things, if we are not being natural to ourselves. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So I just remember one dream that kept repeating, in a way. It’s like I was observing life in North Korea. Because the dictator wanted to control everything, it felt like there was this woman that kind of wanted to… I don’t know if she became a chicken, or she was cooking chicken, but it was like you didn’t want the dictator to know if you got a chicken that was like a certain weight, or anything.

And I was kind of showing them how to hide that by chopping apricots up when you cooked the thighs of the chicken, or something, that you could kind of hide it in there. It was almost like she was the chicken and, you know, when she was cooked you could hide the apricots in the legs and not show that you had gotten a chicken that was as fat as maybe what the dictator would have. Because if he thought anyone had something that was better than what he had, then he would kind of come down on them. So I was trying to show them how to conceal that. But then the dream just kept repeating.

John: So what’s going on in this dream, that’s repeating, is you’re trying to get beyond this aspect of what’s called a frustration, or it’s a tension, or a reactive anxiety.

And you’re trying to look at a particular quality of this frustration, tension, or anxiety, a particular way in which it inflects, as an effect, that is your particular dilemma, or mannerism, by which you prevent, or keep, a certain quality of the secret substance that permeates through everything in the outer – or the inner coming into the outer – that keeps that from happening.

And when you feel a little tension, or a little frustration, in this case it’s like a chicken, or it’s like a type of fear. In other words, it’s a qualm. It’s a qualm of some sort that keeps this from being brought directly through.

In other words, this is all in keeping with the subject matter of: how do you work with things that are subtler, and subtler? And what you have is you have, for example, in the outer you just have the outer as a kind of density. And you relate to that outer density in terms of how you see things with the five senses. And the way you see things with the five senses is caught in this motif of seeing matter as matter – and staying strictly on that level.

But there is matter in sound, and there’s matter in light, and that the level of bringing inner into outer involves having to incorporate a bringing together of the sight of light into matter.

Now that sounds very, very strange. Well, because it’s a different kind of sight that we’re talking about. In other words, when you feel a vibration, something is going on in the outer and there is a way that it is. And then, on a vibrational level, you denote something more, you can denote whether something is a little this way, or a little that way.

Well, you denote it by a type of sight, but it’s not a type of sight, per se, of the senses. It’s a type of sight of a higher-self light of sight. So, in other words, if you’re in a room and you see something in the environment, in terms of the way something is, that causes you to hold back, or to measure what you say, or however that is, because you can sense something more than what’s apparent on the surface, and you can see the degree to which somebody can hear something, or recognize something, or you see what’s going on in a deeper way of something moving around in the nature, or the atmosphere – that’s a type of sight.

It’s a vibratory type of sight. Now what keeps this vibratory type of sight from becoming a substance, per se, in other words going into matter, making it manifest, is whenever you have any kind of friction, and we’re talking about a kind of friction that has to do with fear, that has to do with anger, that has to do with frustration, that has to do with things that have a denser mannerism about them.

So what your dream was doing, is your dream is reverbing back and forth, and back and forth, to try to see how it was possible to have a condition in the overall. And you were setting it up in a scenario in which, if you were to have this condition in the overall, you would have to have this condition in a way so that it didn’t cause a disturbance – because you were in North Korea. And whatever it is that you were able to have in that density had to be done in such a way so that it wouldn’t draw a type of attention that would cause it to appear that you were usurping the powers that be.

So what’s the powers that be, when you’re talking about the outer? It’s the density of things. And so the powers that be in the density of things is the idea, and the understanding, of what’s going on. What brings the inner into the outer is that you have to have that spatiality inside of yourself in order for it to occur in the outer. And, as you embody that and carry that inside yourself, that becomes the atmosphere all around you, as well. But, to the degree to which you’re responding, or reacting, to some heebie-jeebie, or frustration, or mannerism like that, some qualm, is the degree to which you blot that out.

Now why is it that that blots it out? Well, it blots it out because it slows it down. It slows it down in keeping with the density of things, and when something is slowed down in keeping with the density of things, it then goes back to the modality of the physical, and the senses, and the lower-self senses. And so you lose the secret substance that goes at a faster speed, that actually is a type of substance. In other words, all aspects of density have a terminal nature to them. They exist, for only so long, before they crumble back to dust.

Everything is that way in the outer. And on levels of light there’s a terminality, too, but it’s a long, long, long one because that’s such a subtle substance that it’s not like you actually see it, but yes, you kind of do by being able to experience it from within, vibrationally enough, that it’s like a type of seeing because it just permeates through.

Your complexity in the dream was, as something is coming through, to what degree does it need to be kept, held, or maintained, or protected in a particular way, in terms of yourself? And you’re using, as your screening mechanism, a type of fear, a type of chicken, a type of presentation, orientation that reverbs. The reason why it reverbed and reverbed is, by bringing that into the equation, you brought in something that kept it from just naturally being.

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

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4rg5Patterns can be very helpful to us, or they can be great hindrances. Unconscious patterns will become ruts that let us move about by pure habit. Conscious patterns, ones that we create to allow us to make progress toward a certain intention, can be very productive. Yet within these structures we need to maintain an openness to go with the flow of life, to respond to what is currently possible. Our set patterns can close us off to what is alive in the moment. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In my dream, I’m visiting a house where Joan Rivers has been staying and, apparently, she’s come and stayed there over the years, and I’m going to be staying there when she leaves. She has a younger boyfriend that lives down the street.

And the main feature of this house is there’s a couple that rents out the space to her, that lives somewhere else in the house, because her’s is like a smaller apartment that’s attached to it, almost like a studio in some ways, and they have a grandson who seems to do things for her.

And the main thing I notice is that she’s always putting up new wallpaper, and the grandson seems to do that for her. I’m studying it now because apparently, when she moves out, I’m going to be moving into this space. And it’s almost like people expect me also to take on her boyfriend when I move in the space.

And so I’m studying this, and I’m looking at the wallpaper that she put up, and I realize that if I were living there I’d probably put up a different colored wallpaper, because she likes distinctive large patterns, and I almost like something where I could see myself, or if you kind of ran the wallpaper really fast kind of like that tiger that turns into butter in the cartoons, then the wallpaper would all blend into a certain color, and that would probably be the color I would like, not the one with distinct forms on it.

And then I’m looking and I’m seeing the past a bit, and I’m seeing that when she first moved in the place looked pretty bad, like cigarette butts on the floor, and maybe the floor was bare, but now it’s been not only nicely fixed up but, you know, she puts different wallpaper on it all the time so it’s always freshened up. But I see that most of the work for that was done by the grandson.

And then I see a scene where she and I… well, where all of us are in a car, except the car almost has three sections, and in the front section is the man who owns the apartment. He’s driving, and his grandson is up there not too far from him, and then he has this big dog, the kind that has really wrinkly skin.  And then there’s a little bit of the seat, and then I’m there, and then behind me in the car would be Joan Rivers and her boyfriend.

And I reach up, I kind of grab the dog and give him this really deep rub, kind of into the furrows of this really thick skin he has, that kind of causes these deep crevices. It belonged to the people that owned the place, I think. And it’s the way that I rub it, and grab it, and rub it the dog gets really happy and like rolls over on his back. But I can see that that disturbs the owner a little bit. It’s almost like he doesn’t want to see the dog quite that tranced out. And that was the dream.

John: So this dream is identifying a problem. It’s actually a teaching dream, that’s identifying a problem that currently exists, in that one of the reasons why nothing is working in life, in terms of consciousness evolving like is possible, is because it’s gotten sticky. It has gotten set. It has developed its own patterns, set patterns, and these set patterns have to be let go of. You can’t take and effectuate change with certain set mannerisms, or patterns.

In other words, this is a shocker of a dream, because it does comport with what I’m dreaming, too, in that what is offered as a prescribed, predictable, developed mannerism, that has been honed over millennia, or has been taken on as an understanding, or school, of belief, something has to lighten up about it, because you can’t have this on one side, and that on the other, just like we can’t have the angelic on one side, and the pragmatic, we’ll call it, on the other. The two don’t talk to each other.

So what has happened is the mire of things has gotten to such a degree that you just have these patterns, and one of the things that’s interesting about breaking up patterns is, first of all, you have to expose them – and that’s what Joan Rivers is all about. It was not an easy life for her to live, but, at her best, she made a mockery of everything. She had a way of looking at the simplest things in life and pooh-poohing it. She would go into areas that would be considered off limits and almost sacred, that you don’t go making Tom Foolery out of in these areas, that these are value oriented areas or something.

And she’d go into those areas, it was her comedic nature, and she would be able to put a flip on them that was kind of humorous. It’s almost as if there is a need for a letting go that has to do with reincorporating everything that is in life again, all back into life, good, bad, and otherwise, almost kind of like the way things are kind of thing, letting go, back into the whole overall now.  Because tangents about how and how things need to be, in terms of a context, and you have all of these contexts, all of these different Tariqas, and traditions, and religions, and on and on and on, all of them seem to have developed a mannerism by which a person can take and go off to one side, and seemingly have experiences – but that’s not doing much for the fact that you have all these patterns in life that still predominate, these other patterns in life.

And that Joan Rivers, in a sense, was able to take all of these and flip them around, as her sense of humor. And, in doing so, her contribution to life was to try to give life an idea that nothing was that serious, that you don’t need to get all contangled with any given thing, good, bad, or otherwise, whatever your belief system.

Now somehow you’re looking at all of this. You realize that you’re going to have to take into account all of this, including everything that she’s about, and you realize that there is a higher octave to it. And the higher octave is: all of this needs to be spun together, brought into something, instead of big patterns, brought into something that’s, like you said, the tiger’s going around and around until you make butter.

And so instead of taking and picking something this way, or that way, you realize that you need to take everything that there is and run it together, and, in running it together, homogenized the whole thing. It’s like a letting go homogenization in which everything is taken into account, as opposed to being in a condition in which what is affecting you everything is set patterns. And you’re never quite free from getting from one pattern to the next with any dexterity.

You’re either too angelic, or too pragmatic, or too this, or too that. And so what you realize is that there is a bigger picture to it all, because things that are like this on one hand, and like that on the other hand, whether they’re angelic on one hand or not, however they are, is not making any headway.

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

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