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Archive for the ‘Fundamentals’ Category

heart-connectionHow often do we find that the technically precise musical virtuoso, or the exacting painter or dancer, is less interesting, and less moving, than the imperfect artist that is working from the heart? It is true in our spiritual work, as well, because to see our path only through the data crunching of the brain limits our ability to encompass much more of what is going on. There is information, connection, and intelligence in everything around us, and it is the lens of the heart that brings us online, into that network. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So, in my dream, it starts off where there is a stock that has three aspects, or parts, to it. In other words, there’s the typical aspect of the stock, and then there’s kind of like two other variables that aren’t as dense, that are kind of situated in terms of the composite of what makes up its value – kind of like intangible aspects.

So if you look at it in sum like that, it’s like an arbitrage. In other words, it’s value is set, and stable, and consistent, and has this underlying quality to it that makes it most interesting. So I look at the three parts and realize that the company’s kind of well protected, then. So when it’s like that, when it has a more roundedness to it and it’s not just an idea, or conceptualization, it makes the heart feel good.

Well, the significance is that I’m finding value based upon how my being is able to equate perceptively to the heart. If I am doing this by strictly looking at outer appearances to come to such a conclusion, doing something like that runs the risk of creating a lot of inner grief because, again, you’re going in the wrong direction. It’s like you’re using what you consider a type of consciousness, in which you don’t have the big picture, to try to get something, to shape something, without the full picture to shape it in some particular way.

So when the heart is occupied to functioning in such a capacity, in other words, constrained, that’s when it gets misused. So you have to look to the freedom of the heart, to keep it viable, in terms of what is potent, and real, and vibrant. Yet by constraining the heart it can cause you to catch up with things providing you let go – but it’s a different quality of letting go. One soars, and the other kind of falls back into kind of a reconciliation at the depth of one’s self.

So the heart is designed to access the vibratory unseen world, and the outer mind is for the outer. So when the heart accesses the unseen, the heart is in its element. The mind is in its element looking at manifestation. Problems arise when the two are blurred together in such a way where the heart is inclined to be used to rationalize one’s presence in life, in manifestation, in such and such a way that makes things work.

The mind and senses can’t help it but they’re inclined to look at outer appearances, and they function on that level. But the heart that misses out on the inner vibratory queues, because it is compromised by being directed into trying to help with the mind and senses in terms of sorting something out, that’s the kind of heart that is getting more and more misconstrued.

And so this is accentuated by showing another image in which I’m holding this time a stock that has dropped from over six to the shocking price of four. Now it wasn’t supposed to go under six, and if it goes under six it could go a little bit under six, but it goes to the shocking low price of four, and so that’s like devastating because it really, really makes no sense at all, and couldn’t happen based upon anything and everything that I know.

And so I didn’t pay any attention to a sense of the heart that kind of indicated that something more terrible could happen, so that leaves me shocked because I don’t know how to put the two together. The fact that the mind knows something and then the heart reflects the hint, but now all of a sudden I’m trying to hold it tight, based upon something that I can’t hold it tight with, is happening.

This results in me sitting on a bench, kind of sitting in shock, and this guy comes up and sits down next to me, who’s kind of like a broker who knows something about my account, and he says, “That is not the way it is supposed to be done.”

And what he is really doing is this is a hint, talking about how the heart is supposed to function. It’s not supposed to function in terms of lining up things in the outer, letting things in the outer vie for it. The heart works in more of an invisible essence way.

The meaning is, when the lens of the heart is used, for outer identification purposes, the heart loses it’s overall orientation. It loses its grounding. In other words, it’s an amazing statement. It’s a way of using the word grounding to point out that the heart is grounded in the unseen.

So the heart is designed to access an inner vibratory knowingness, or atmosphere, that is the essence behind appearances, the outer constructs of things. Melding the heart to outer nuances is not how the heart is to be accessed.

The heart knows the empty space, and can denote what arises and touches the empty space. When the heart follows the empty space into objective orientations it gets lost, and abides in the illusory density of outer appearances. That is when the heart’s orientation to the empty vibratory spaces is lost, or goes askew, from the vibratory essence of life.

And then it suffers. The heart suffers in the sense of feeling itself being drained or misconstrued. And so this is how I came to know that the heart is the Will of God. I mean it’s the guiding force. And the mind senses are the Will of man.

The significance is until the heart rises above this abstractive misuse, a person remains in a painful delirium. And, when you’re like that, you need an extraction from misuse. To connect to the intangible vibratoriness of the overall will is to access the secret substance that touches all there is. Real life is not visible. An aliveness that vibrates more subtly than our physical senses is an aliveness not designed to function directly through physical appearances.

Physical appearances are created out of the subtle unfoldment from an overall, inner, all-pervasive empty space that the heart knows. You don’t listen to your mind and all of its senses because it’s not going to have the full picture, yet the heart can always have a sense that knows.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Lens of the Heart

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kaleidoscope-minIt’s useful to have consciousness about the exchange of energy when we are with people. Sometimes being with someone charges us up, and so we want to be with them again. Other times we always feel worn out when they leave, so we tend to see them less and less. A better strategy, however, is to be able to maintain our own energetic space. And we do that by generating energy from within, through our thoughts and intentions. For example, when a friend is in need they may be a huge drain energetically, but if we hold in ourselves the questions: what does this person need? Or, how can I help?, those intentions can generate the energy that is needed, thereby making much more possible. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: All I remember of my first dream is that I seem to be watching fire burning along a ridge line, like way in the distance, like it looks at night. And, when I woke up from that, then I had a lot of trouble going back to sleep. Then I had a second dream.

John: The fire burning in the distance could be something that’s like pulling, or draining, an energy out of you, a sensation effect in which some part of your world is being discombobulated, or breaking down. And for you it would be in a sense of the outer, or image in the outer, and such an image then would leave you feeling a little awkward in terms of your sense of self.

Jeane: In the next dream I seem to have come into town in a car with a couple other people. One of them is a friend I haven’t seen in a long time, but she’s traveling with us, and we’re going to go to an event that night – and first we drive to where the event grounds are.

We see there’s parking places there. I think you get this brilliant idea that we should actually stay at a motel right across the street from it, and then we can just walk over and be able to see everything.

But then when we go to drive to the motel, instead of parking the car at the motel, you want to park it on the event grounds, which I think it’ll be out there amongst all the people; you won’t have any flexibility with it. So I’m upset at that idea. I don’t know why you want to do that when we can just walk across the street.

John: So what this image is churning up, or dealing with, is this idea of holding a space, or not. In other words, if you park, or if you stay back in the motel where everything is kind of balanced, or has a certain presence, as opposed to parking in the midst of the crowd; when you park in the midst of the crowd, it’s really hard to hold your energy from getting affected by the activity of everything going on around you, getting drained, in other words.

It can be the effect of getting drained because there’s all that commotion around you, but when you hold yourself in a place where there is some safety, or sanctity, and then go into across the street and such, you’re able to maintain a sense of balance.

So the dream is kind of telling you a little bit about a way of being that is more conducive to how you’re able to cope and relate. And the reason why it’s a little like that is, you might say, as a theme thought, is the idea of how much company do we dare have coming? Because that then can take and have the effect of undermining a certain balance, and throw us into more of an effect of the environment, this being an environment that’s brought in with lots of commotion, as opposed to taking and holding that space, and holding a balance in that space, which is important for maintaining our own sanity.

Jeane: I know the dream right before this, I was in an environment that was almost a little alien, like the people looked a little alien. And all I remember of that dream was at one point a couple I seem to be rooming with was looking for something that they’d lost. And after they left the room, and I looked at my cupboard, it was something that had been brought back from India. Then after that when I looked at a bureau, when I saw amongst all the things in the bureau what I thought they were searching for, so I went out to tell them. I wasn’t able to see it at first because there was too much junk on the bureau.

And then what I seem to remember is going through various rooms, and feeling like I was at this large building, and feeling like I’m being pursued, and I’m trying to look for places where I can get away.

John: You’re still, in your way, dealing with something that has affected your usual typical way of balance. It’s your way of reporting how this makes it hard for you to pull something out when something has undermined your energy.

The underlying theme as to why your energy is undermined, is it was getting drained by something that has sucked out your normal vibrancy and, therefore, you have a sense of not being able to find something, or something being broken down, or being pursued, or being harassed, which is a type of weightiness. And it’s a draining of Chi, and it’s a draining of heart energy, and these are images that come up to show that something is askew. And what we went through that kind of drains an energy, and drains a heart energy, is our experience around Ray. He does that.

Any course of time around him he kind of leaves you flat, because he’s always on the take, and it’s always about him, and there is something that’s always missing, and he’s always looking to figure something out in terms of what he needs or something like that. And an approach that’s like that, that’s indulgent like that, sucks the energy out of an environment.

Jeane: So in the Wal-Mart dream, as I call it, it’s like I know that when we all go to the event grounds, it feels like there’s going to be a contest that someone has to observe, and they maybe want us to take part in it. And I seem to be objecting to that, just like I object to the parking because there’s something off about it.

Oh, I didn’t bring in the Wal-Mart. It feels like we go into a store and my friend starts talking to the clerk, and said she felt good when she came into town ever since she knew where the Wal-Mart was. And I’m kind of almost thinking, oh my God, I never go to Wal-Mart, you know.

I’m not feeling good, and the clerk is agreeing with her, yeah, she always knows once the Wal-Mart is she knows where she can go to get what she needs, she feels better, too. I’m not feeling better about this, knowing where the Wal-Mart is.

John: Well it’s an unusual image in that Ray’s sense of feeling good, for example, is when he knows where to go to kind of get pacified, or balanced, or his idea of his needs met; to find a way of satisfying that. And it’s his way of apparently healing because he still has to function that way. He still has to use that as an approach for healing, and if he doesn’t, then, he carries a greater woundology, and a projection, and a greater discombobulation.

It is a very subtle draining energy. The idea about a Wal-Mart knowing where it’s at, or not knowing where it’s at, is sorting to an even deeper thread, or a deeper issue, and the deeper issue has to do with the Will of God, or the Will of man.

It’s always nice to know things in the outer, which is kind of a Will of man thing, that supposedly is going to make your life easier. But the Will of God works in a different principle in that it works with the heart, and if it doesn’t quite feel right, it drains something in terms of your recognition of something as a depth inside of yourself. Then it’s not good.

And so you have a sense inside of yourself of a Will of God, which is a heart quality, that gets compromised when it is associated with something that is of a construct that’s more in terms of an outer.

So, you are just portraying it as something in terms of how one lives in an overall sense. The heart leads, not the mind. It’s a very complex way of trying to present it, but it’s kind of presented in the fact that you are just kind of, plop, in it. You dreamt like this because, in your heart, you were basically feeling flat, a little disconsolate, and even could be kind of drained, or sad. And yet we’re solving that, were healing yourself in this way.

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

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pollice-versoFrom birth, we are fed a diet of bread and circuses. But many yearn for something more, or have an urge for something more. And that is our most natural urge: to want to fulfill ourselves according to our design and possibility. In that journey we will begin to understand how the world we see veils us from what is really happening. But we have to look for that, and be open to finding it. When we do, then we can make a journey of purpose, a journey that matters.  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Okay, I had two dreams, but I don’t remember which one came first because for some reason they felt like the same dream to me, even though they were somewhat different.

In one dream you’re my boyfriend, and I’ve decided I’m going back to graduate school for awhile, and I’ve looked for a place to stay near the university. And there was a home where a woman rents out a lot of rooms in a building. I lived there years ago. She rents it out to all different people that are students.

And I had quite a good, but complex, room at that time, that kind of took up two different stories. Well, I go back this time and I have one room on the middle level of the ground floor, and that seems like good enough to go to graduate school. But then a friend of mine is saying that she’s constructed another room right next to it, that’s near the door even, and that they think I should go get that along with the room.

So I go look at the second room, then I take a relook at the room that I had rented, which is in the middle of the first floor, and it is a very simple room with a bed, a bureau, and little closet, and I can see that, especially because I’m in a relationship with you, if I add the other room it just adds something in terms of privacy and a little more space.

And I’ve been told she hasn’t rented it out, but there’s another young woman there on a cot right then. And then I go across the corridor and see that the room right across the corridor that used to be more spacious now has about three gals renting it who are going to share it all. And I realize that with all these young women that she has in the house, maybe she doesn’t let someone have a boyfriend – so maybe I need to talk to her to see if I can have the additional space, and will it even work; will you be able to get in the house?

And I’m feeling a little badly because I’m not sure what my financial situation is, because I had already gotten one graduate degree, and now I’m going back and taking this course – and is that the smartest thing to do? But it seems to be something I need to do. And I also think that somewhere there’s a closet full of old things that maybe I had left there, when I had lived there years ago, but I’m not sure if it has been emptied out, or even exists anymore.

And now I’m also wondering, you know, if she has a camera on the door or something that means I won’t be able to let you in there. So maybe this whole thing is not the best idea. I’m just not certain what to do. That’s the initial dream.

John: What you’re trying to find is a spatiality in which there is something that exists, within that spatiality. But however it is, and wherever it is, you look, you’re not able to add to the idea that there is something that can exist within a spatiality. In fact, you find yourself so out in the open that there is nothing to hide, nor is there anything to see, or anything in particular to have to be.

So the scenario for you is one in which you are not having to hold down any placement of self, in any given particular way, and that the idea that there is something like that only creates an awkward bewilderment.

Jeane: In the second dream, I have either a boyfriend, or fiancé, and he’s one of I guess what they call the little people, and when he briefly shows me a picture of his family, whom he wants me to meet, I see they’re kind of a mixed bag: some of the siblings are tall, and some aren’t.

And they live on somewhat of a ranch, plus they seem to have an area on that ranch where they have some arenas because they do some type of almost like a circus act. And his family can be tricky to get to know. So he’s going back to see his family before he introduces me to them.

So when he goes back there, and he enters the area where his family lives, what I’m observing is from a distance is at first he kind of runs along a seam in the ground, because it feels like there’s a whole arena that’s covered up with dirt right now, that’s an underground area, where his father and some of the other people are performing. Or that’s their practice arena.

And he goes past that because I guess there’s some way you have to gain entrance, and he goes into another room, and he kind of hides in this little place in the other room, and then these beings – they look kind of like machines, and some of them even look a little like machines that are also clocks, or mechanical and alive, though – come floating in the room. It’s almost like they’re guards and they check everything out.

So he’s like pretending to be a piece of furniture in the room or something. Of course they suss him out, they float over to where he is, and they all have like a laugh because this is like a joke he plays with them, and they see where he is.

And then he goes over to the area where there was the seam in the Earth, and it’s like it opens up and he can drop down into the area where his whole family is. And he’s trying to figure out now some way to introduce me to them, because it’s like there’s even this kind of playful way he gets introduced to them. And that’s all I remember of the dream.

John: So out of that setting, in which there’s nothing to be, or to see, or to do, that’s of your initial dream, the setting, out of that initial setting, that there’s just the spatiality. As the masculine aspect or element is added to the spatiality there is the sense that, arising out of the overall, coming up from the depths of things, is something anew.

And that a part of you is in anticipation of that. In other words, you’ve gotten the spatiality thing down so now you start to have some depth to it, as well, and you come to find out that there are the vibrations of things that you might yet still be focused upon – as if you need to recognize or realize. But, in the end, you find and come to know that there is really nothing about anything that amounts to anything, that it’s all a kind of fabrication.

Well what you’re describing is an emptiness in the full sense of the word, in that there’s this spatiality, in the first dream, and then there is nothing to be taken seriously. Why, sure, there’s the hoopla, there’s going to be this, and there’s going to be that, but ultimately, in the end, it’s kind of like laughable.

To have a dream like that detoxes you from a seriousness, that is imposed, in terms of one’s nature, or predilection. Everyone in the outer has this predilection to take something serious. And the scenario of taking things serious, or making a big deal out of something, and the holding of the space that doesn’t have to do anything like that, is the equivalent of living the essence within.

You don’t have to contend with the reflective conditions. Now, the thing that’s interesting about this is that, if you were to look at yourself and you would say okay, given what occurred yesterday it’s kind of surprising that I would dream something like this. The reason why you would dream something like this is because, deep down, you were able to hold a space in which you weren’t affected, or drawn in, to the drama of the overall outer.

When a person is caught up in the overall outer, the approach can only go to the point of seeing the essence, or the divine, or that which is of interest, or that what one thinks is of interest and value, one can only see that as an inflection from the outer.

Now there’s different degrees of that. There’s the degree to which one thinks that they are having new experiences, and that that’s what it’s all about. And then there are inflections in which one can see that there is just the outer, and then what comes out of the outer is what is real.

You are shifting from this place, and are shifting to where you’re not going to be honest to the greater part of yourself if you continue to conduct yourself like everyone else, making some sort of storyline, or importance, or meaningfulness, out of the reflective. It’s all a matter of degree, going all the way up to where you can see the divine essence coming out of the reflective.

When you take and you shift to where you hold a presence in an overall space, in which the overall space is broad, and then, in terms of above and below, there is nothing going on, it’s all kind of humorous. When you can hold that space, then just the holding of that space changes things because it causes the epiphany of a recognition. That is called being able to live the essence.

Now, to live the essence is to be a part of, or if you were to add the masculine quality to it, you would be actually changing the reflections. The reflections would be coming out of you, and that’s how it appears for awhile, and then you come to know that the greatest of the lived reflections is that in which nothing is occurring, a total emptiness.

So whatever it is that your eyes see, as if it has a meaningfulness, a meaningfulness that you have unfolded as an aspect of the creative beingness of yourself, is laughable, which means that the highest state of living is the state in which there is nothing going on.

So, you see what you were doing? You were going through the stages. You were going through stages of a type of reflective, and then a meaningfulness that arises out of what is perceivable in the reflective, of which there are degrees of that. And then, ultimately, you come to know the quality of holding a space, in a livable way, and learn that there is nothing to be found there in that because the highest way of living something is that of an emptiness.

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

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