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Archive for the ‘Symbols: Animals’ Category

ima2223ges

Todd Allen

We have spoken before about water images and fish images as being representative of the unconscious. Sometimes it can be a small body of water, or an ocean, or a small fish or a big fish. Here we see a human-sized fish that’s following our dreamer around and trying to communicate with her. And, as you might expect, that makes her a little uncomfortable. Sometimes dreams try to communicate subtly through their symbolism, and sometimes the symbolism jumps out of the water as a huge fish and flat-out says it’s trying to communicate.  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Okay, in the second dream, I’m living with a group of people and at one point I leave the house and I discover there’s been a huge snowstorm. And I’m trying to make it down the hill and back in a snowstorm.

At one point it feels like I even really slide and come right to an edge where I could go over, but I seem to stop, and I’m studying out how to go down and around. Then it feels like I’ve come back and I’ve gotten my sister and we’ve left, but when we want to make our way back what’s happened is we’re kind of almost like flowing uphill, and everything around us is in upheaval.

Whole buildings have just kind of either fallen, or gone up in the air and turned over, or whatever’s going on, and what used to be the road that we took downhill it’s become all like a muddy river almost, and we’re trying to make our way kind of against the current and getting back.

And there’s even things that look like alligators on the side and underwater, or you think like they can be after you, but they don’t seem to bother us. So we make it back towards where we’re going, and I’m even going somewhere towards work, and someone notices these big fish in the water to the side. And there very unusual fish with kind of tentacles a little bit like catfish, and someone had once said there were no big fish in that water, and I’m thinking, well, you know, these look as big as a person.

But then one comes out on land and I see that there’s something actually like they’re actually manmade on some level, or alien.  There’s kind of a plate near the back of their head that’s almost like you feel like they’ve been manmade or manufactured in some way, but they’re also intelligent. It’s like they try to communicate with us, and so we hurry off to work. And I start hiding from the boss that I even see or knew anything about the fish, but I break something so he knows I was in the room overhearing a conversation he was having about them, I think, but I try to act like it was the cleaning lady that dropped something on the floor and not myself and my sister or whoever I’m with.

And then to make our way back but, when I leave work to make my way back now, these alien fish-like people, I guess is what they are, are trying to communicate with me all the time and following me around or showing up where I am, and it’s like I’m a little freaked out by it. I don’t know quite what to make about it, that they’re doing this, because I don’t know what they are or what they’re about yet.

John: You’re using an image to try to portray how the breath works, and in the out-breath you come down and, when you hit the interval to where the out-breath turns to the in-breath it’s like being on the edge of a cliff in that you’re at the furthest point, so to speak, from the crown, and it seems that in this particular zone where you don’t have a lot going on for yourself in the outer, because you’re at this edge, nor do you have the inner on the return working, that you could’ve cracked up. You could’ve gone into a state of despair; but you didn’t. You didn’t go over the edge.

And so then you made the return back, and you’re making the return back, something comes out or opens up for you, and it’s these fish, and these fish have a kind of consciousness. In other words, who would guess that in the like in-breath coming back, going back to where you belong to a home, going back, that there would be such amazing consciousness.

And each time come to realize more and more of an intertwined linkage, or awareness, of what was opening up inside at some depth inside of yourself that is represented by these fish that are attempting to get your attention.

So you’re portraying the path. In other words, the first time you had to be rescued by kind of a grace because you were really under blizzard conditions, and you couldn’t see your way, and it was only fortuitous that something kind of worked out. And then the next time you started to recognize all of the plight of things that were there. And the third time you started to realize that there’s an awareness that is trying to get your attention.

What you’re basically describing is the awakening of the soul inside of yourself, in other words, the overallness of that. You’re portraying it just as if you’re discovering, as if you’re going through the various levels from beginning to end, like a one, two, three, three breaths, with the third breath getting to the point that you have a sense that what no one believed was possible is possible. It’s big, it’s there, it looks a little scary, but it’s trying to get your attention.

The fourth would be more of an aspect of completion then, because you would be allowing and accepting yourself to be carried away in that condition. And if you were to allow yourself to be caught up and carried away in that condition, what you would find would happen is that everything that you would be doing would all have to be oriented towards this quality of illumination – which means that you would be outside of the physical, outside of the emotion of things that tries to sort something out with the heart. You would be taking everything that is happening to you into this other zone, into this part of higher self. In other words, you’d be awakening to that realization that that’s what you really are all about.

Instead of quite coming to that full recognition, you came up to the point where you were aware that the consciousness is huge and that it was trying to get your attention, and that it was a little unnerving, and shocking, to see that it was like that. You got up to that particular point.

The next step after that would be to accept and be able to take and go into that. The problem that exists when you come up to this particular point where you now have to accept and go into that, is that as long as you’re still kind of in awe of it, or noticing that something like that kind of exists on the other side, you’re still in a position that is relatable to the lower-self elements of things where delirium exists, and where you can delude yourself.

But when you get to the point where something like that otherness takes over, so that everything about you is in conjunction with the soul of the whole, then whatever it is that happens in the physical, or in the outer, however it is that you are affected then, you have to take that affect and flip it as if, in order to see what it really is about in terms of something on the soul level.

Now when you start to function like that, you’re not going to make a lot of sense to a lot of people because people are still caught in their mind and their senses, and they’re going to have to perceive things in terms of how those things correlate or relate to them. And you’re not going to be effective like you might have been before when you are caught in belief systems. You’re not going to be effective at upholding the various stories, the storybook nature that people have, and that you have.

It gets to the point where even the physical ailments of yourself are not like physical ailments anymore, they also somehow or another have a meaningfulness in terms of the world soul. In other words, whenever you’re going through something that is affecting you physically, where most people would be dwelling upon their aches and pains, you would be inclined to look at that in terms of what is this about on the other side. How do I take and turn this into the big picture?

It’s a whole different frame of reference that almost looks crazy to a person who’s caught in the physical, because it’s almost like a type of denial from the perspective of something that’s caught in the physical, and it even can look like a denial to yourself because you are in the physical and you’re going to have these aches and pains, but these aches and pains and mannerisms to which you’re perturbed and upset, you kind of come to recognize that they point to something else and that something else that they point to is outside of a personal mannerism that you have been accustomed to seeing yourself under. They point to something in which you subtract yourself out and you start to see this being about the whole, or the soul, about everything that exists, and everything kind of goes into that as a quality of what’s really going on.

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

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834 c

Alessandra Fontana

This dream analysis is an excellent example of how to think about the images in our dreams, because too often we take the images literally and then they don’t seem to make any sense. But here the images show that they are portraying the nature of something, not the actual thing. So a muskrat shows an alertness, an ice cream bar talks about something that is frozen, and out of the frozen ice cream is a bug that can bite, but the bug persona manifests because of the dreamer’s resistance, or attitude, to the changes that will awaken. If there was no resistance, the bug could have appeared as a wrapped present instead. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: The only thing I remember about one of the dreams is that there was a muskrat in it, and the muskrat stood up on its hind legs and looked up, over like a cabinet or something. And that kind of shocked me, because I thought it was going to be a person and it was a muskrat. That was all I remembered from the earlier dreams.

Then the later dreams, because I seemed to just still be processing stuff about changes going on in life, but in the next dream I’m in some kind of a gathering, a party, something like that, and Ellen is there and he makes some comment that it’s like he wants us to break up.

It’s almost like he makes a comment like you and I should break up or, you know, you should be with someone else or something that kind of shocks me, but you don’t really pay attention to him. You just keep focused and there’s someplace we have to get, and that’s kind of more what you’re focused on, and I’m still trying to process that.

And I leave the party and I’m going over to a place that almost looks like an old fashioned castle-type building, and outside there there’s a man I used to know that’s pretty talented that’s singing and playing the guitar and being filmed. I haven’t seen him for a long time, so I’m kind of interested, but I’m in a hurry. I go by there. I cross the street. I go up to where everybody is gathering in this building.

I can look out the window and see him, but I seem to be like trying to meet people in the building, or getting together with this gathering. And sometime in the process of this gathering, this man who may have even been in a position of authority or something, he has like an ice cream bar and it had a bug in it. And when it releases this bug this bug flies around, and when it bites somebody it makes them pretty crazy or sick or something.

And he has sent a box of those bars with one of the bugs in it home with us. You take off your shirt so that the bug bites you instead of bites me, because I think the bug was supposed to bite me, but you take off your shirt so the bug will bite you. And I think I finally capture and kill the bug, but I’m not sure what to do.

And then Sharon comes to visit and she gets into the freezer and she gets out the candy bars, and there’s three ice cream bars left, but I mention that there might be bugs in them, and if we eat them we have to have a way of killing the bugs.

All of the dreams were kind of like that. They were just a little crazy.

John: Well, what’s going on is everything is in the process of shifting, and the tone of the shift was actually exemplified as a startling alertness, or awakening, or a paying attention to when the muskrat… just think of how that is with the muskrat. They have a part of themselves that is super alert, observing the changes that’s happening around them in their environment. They stick their head up, they look around, but then they duck down.

They immediately duck down because they short out. In other words, they’re hypersensitive to notice those changes, but they’re not prepared to handle too big of a shift. And so they can’t help but poke their head up to see something that’s changing, but at the same time, they then react and duck down and go back into hiding.

So that’s the energetic that tweaks the whole process of what you were dreaming, and then what you were dreaming were all kinds of things that had to do with shifts that are happening that are affecting your demeanor. So it starts off as if you’re having to denote that something could change in the way that you function, relationship-wise, in the outer, and so that is done in order to tweak the reaction. And the reaction is there to show how one conducts themselves when something changes, or shifts.

In other words, go all the way back to the muskrat that sticks its head up, sticks its head up out of an alertness, out of a sharpness, out of a quickness to denote something is afoot. But then it ducks back down because it’s not prepared to handle any change in its environment. And it goes back into its muskrat hole or whatever it might be, but it can’t help itself. It periodically has to peek.

The key here is: can it accept the changes that are happening? The key is, on an energetic level, can one accept the changes that are happening? And the changes that are happening are periodic, and the changes that are happening are something that you have to learn to flow with. If you don’t flow with it you get grumpy, or uptight about it, or fight the issue, whatever the issues might be that are coming down in life.

And so your whole dreaming is going from one sequence to another sequence of things that have to do with the changes that are happening, that are meant to happen, because things have been pent up or frozen for too long. And so you go to something that has a bug that can bite – and are you open to that? And you only have to contend with this bug if you’re around something that’s frozen, an ice cream bar. And somehow or another there’s something about the ice cream bar in which there is a fly or a bug that can fly around and can bite you – and if it bites you it causes a problem.

And so you want to stay unconscious to that, and so you pass that off to something else, in other words, you push that away from yourself, or it becomes something that I have to contend with. But then, of course, you’re still aware of it, you did see it like the muskrat that stuck its head up and did see something changing in its environment.

So when the issue comes up again, this time it’s Sharon going into the ice cream bars, in the freezer, and you have to warn her about there is this potential bug that can fly around, that can do some sort of change, or shift, or alter your frame of reference if you’re not careful.

This is the schematic of the dreaming. The schematic of the dreaming is that there is a shift. There’s a bunch of shifted things that are taking place, and that one has to be at ease with whatever it is that changes in the transitory outer. In other words, the outer can no longer have the appearance and the setness that one is accustomed to seeing it as having, because that is something that we have factored in as part of our mental design, that continues to keep a setness in life, of which that setness is something that no longer is fluid enough in terms of how a beingness needs to be.

So your dream is indicating that something has to come out of a condition that is frozen, or there has to be a greater fluidity in terms of the overall. That’s when the peeking around is aware that there are things that can break through and affect your consciousness, or change the reality that you are used to keeping yourself trapped into.

In other words, in your case, you’re using the frozen ice cream bars to denote that there is an unconsciousness, and yet somehow in the unconsciousness if that was to come out, if something was to arise from a suppressed state like that, that it would affect the way it is that you’re able to conduct yourself. It could bite you. It can alter your reality.

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Data Flow XXL SeriesHave you ever noticed how perfectly situated humans are between the expanse of the universe and the tiniest atom? Or pondered how they say the space between the molecules in our bodies is like the light-years of outer space? Well, it’s not a coincidence, humans are designed to bring the worlds of energy and matter together, through their processes, and over the billions of years that will contribute to the evolution of the universe itself and the merging together of above and below. We play the most important role in what will unfold. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So, in my first dream, I’m going with a whole bunch of people on some kind of a journey and we get into these… they almost look like little space-age cars. It’s almost like a little plastic car that’s put right around you. It’s mostly a bubble on the top like you see in the science fiction movies.

But there’s like so many of them; they’re all crowded, and they all go in this line zigzagging back and forth trying to get where we are, and you only move a few inches or a few feet at a time. In fact we kind of get bopped from one little vehicle into another. There’s about three of us, or three car fulls of us trying to get to where we’re going on our journey.

And it gets so crowded and dense at one point that it feels like it’s only by being kind of pushed from one car into another that you make some progress. I even wonder if we’re ever going to get there.

But we finally seem to cross some kind of a bridge area, just when you think you’re going to be stuck and not move at all, we arrived, and we’re there. So that was that.

John: Just when you think you’re going to get stuck, you arrive. What you’re doing is, my dream dreams the Brahma side of the theme last night. Your dream dreams the Vishnu side, the sustainer side.

The sustainer side has to do with how you’re working with it. In other words, the theme of the dreaming has to do with: how does the essence of stillness function? And it functions differently from the standpoint of Brahma, the creator, than it does from Vishnu, the sustainer.

As a Vishnu energy, it comes across in terms of how you bounce around and work with things in the outer. And so what you’re doing is you’re visualizing the energy that is coming from inner into outer. The way you’re sustaining it, of course, is because you’re in a condensed microcosm.

What you’re doing is you are contending with it, as if you’re having to deal with every bit of density that there is because things have been created, and so it’s kind of like being in a bumper car. That’s right, it’s like being in a bumper car. You bounce off of this, and bounce off of that. For any given thing that you look at in the outer there’s going to be the opposite correlation or corollary.

And so the dilemma that you have in terms of this ends positively in that you eventually work your way through that. That’s the Vishnu thing.

If you were to now dream the Shiva side of things, you would be taking and looking at what it’s like to reform, as a reformation now, to what’s important.

Jeane: My second dream was pretty violent. Okay, in my second dream, I wish I could remember more about the beginning of it, but I remember I’m going somewhere with some people, and I remember driving there. I come to a place where the road is suddenly sectioned off a little so that there’s cars coming from the left into the lane, and then on the right it’s divided into two because there’s a Santa Claus, a female Santa Claus for some reason, in the far right lane. And in the other lane it’s a little iffy. You can’t really see if you can go down it or not.

So I decide to actually go around the barrier a little bit and exit onto my street by going further to the right because it was vacant.

John: And your significance to the term Santa Claus is something you have to contend with. It’s creating a divide in other words.

Jeane: And so I go around to give the Santa Claus room, and then I get stopped by a traffic cop. He gives me a minor ticket, like $10, because I did that even though it was the considerate or wiser thing to do, so I’m really annoyed initially. I mean there was no other cars anywhere, so I was just annoyed.

Then I go on and I arrive at a house. There’s someone that feels like a sister energy as well as some other woman that seemed to be giving her a hard time, and suddenly the scene shifts and it feels like people are trying to shoot at me. And there’s one man who’s like an assassin, and he even has a dog, and the dog is pretty violent, and you feel like you can never get away from him because if he shoots at people he gets them.

But then I suddenly discover that the people that I thought were friendly in the house, even the woman who owns it, they’re trying to shoot me, too. And then, as they try to shoot me and I go out on the lawn, he suddenly comes to my defense and there’s like a helicopter that some people had landed on the roof and he shoots the helicopter and it breaks into a lot of pieces and falls down.

And I’m kind of relieved to suddenly realize that he or his dog weren’t going to get me because suddenly they’re killing the other people that are trying to kill me instead of my getting shot by everybody in existence. But I was kind of shocked that everybody was trying to kill me and then relieved when I realized this man I thought was the assassin rescues me, you know, and his dog doesn’t try to attack me, either, but it was a pretty violent dream. There was a lot of trying to get away and not feeling like anything was safe.

John: So, what you’re doing is, the thing that causes you to switch and divide, you’re turned around if you go down the one road, which means a direction that you shouldn’t be going down. But they both go the same way, but one way gets you in trouble in some fashion, you get stopped.

And then the other way leads to some violent episodes and things happening, helicopters getting shot down, and what is the end result of that?

So that’s the reformation. That’s the Shiva. The Shiva is often called the destroyer, but a lot of people like to use the word reformer. I kind of like to use the word destroyer, yet it’s a destroying of something for the benefit of something. And so, apparently, what’s being questioned in your dream, your higher self has a sense of a perspective that’s different than the way your functioning in the outer.

And so in the outer you’re taking and you’re considering certain things to be bothering you or, you know, dangerous or however you want to call that. Only the reformation comes when you find that that sort of thing’s your friend. I mean a dog represents the friendship, and you considered the dog to be violent, and the guy that you considered something that was coming after you, or attempting to harm you in some fashion, that guy is seen as the solution because you’re not going to get away from the helicopter.

So the helicopter is up above, and the problem is down below, so that which you see as a problem becomes the solution. It’s a strange solution, because the shooting down of a helicopter that protects you, what this does is it’s pulling the two forces together, an expansive and a contractive.

So, the helicopter represents the expansive. The forces that are bothering you and disturbing you and upsetting you on the ground represent the contractive, and you sit there and when you properly balance the essence of the two together you’re going to find a stillness.

In other words, the guy on the ground that had you all reactive in some sense is a contractive force, and you find out that that’s fine, that that’s okay, you can handle that. But you don’t find that out until it shoots down the helicopter, and the helicopter, an expansive force now, is trying to shoot you. Those two things happening with you standing in between, you represent the stillness in between and you have these two vibrations around you, and so when this sort of thing happens the resolution of that is a stillness – and that’s the reformer.

So the question you have of a dream like that is, in what capacity, how are you to carry this, how are you going to do this? So you have the symbolic images. How do you do this?

Jeane: I just started a third dream and I got woke up, but the essence of the third dream that I remember is I’ve gone into an office and there’s a judge there who calls me aside to talk to him, and there’s secretaries and people that work in the office also.

And it seems like he’s consulting on something and then I leave, and it has to do with me and my family. And then I come back and I can notice some people looking at me strangely, the secretaries, and I realize that what they want to ask is, they want to ask whether or not his being involved in the situation is going to create a conflict of interest in whatever the case is, because he’s involved in some kind of support of myself and my family.

But they’re kind of intimidated to ask it, and it’s like I’m just starting to go over to them and say something to them about how it would or would not be a conflict of interest – when the knock came on the door and I woke up.

John: A conflict of interest. Well, I think I have the first dream, you know if you’re doing a counting. I have the first dream, you have the second dream, you have the third dream, and most people don’t believe that there’s a fourth step. The fourth step has to do with – it’s new information, or it’s a new way.

And the new way is one of recusing one’s self because of a conflict of interest. So how do you have a conflict of interest? You have a conflict of interest in the outer, and you have a conflict of interest in the inner. How is your conflict of interest on the outer?

Well, that’s kind of self explanatory, right, because there’s a tie-in in some fashion that means that you can’t be impartial. How do you have a conflict of interest on the inner? Well, when you come to understand how all of this goes in a circle beginning and end are one and the same, you have a conflict of interest on the inner because you understand the expansive and contractive force.

And so, on the inner, you’re a stillness. You can’t choose between one and the other, and so the reason why this is new information, and the reason why this is another step is, even though we came into manifestation and took the choice of contraction, you know, we didn’t have to come into manifestation in the physical body. We could have taken the choice of expansion, more freedom and such out there in that sense, maybe even more levels to juggle, you know, without the density of the contraction – but that also takes away from the stillness because the stillness rides in between the two vibrations.

So for you to have a conflict of interest means that you have a conflict of interest in terms of the expansive energy, something from up above with a greater perspective is more expansive. In other words, you didn’t have a chance with the helicopter. I mean that was an energy that was going to blow out your contractive little space there on planet Earth.

And so it was one thing to worry about the contractive, and now you have to worry about the expansive. And so in giving you choice as to which to choose , the expansive or contractive, you can’t choose either, you have a conflict of interest and thus you stay where you need to stay, in the stillness. You don’t buy into the to and fro. That actually is what is called a fourth. You know, I remember the discussion being one, two, and three and I was having this the other day with someone and saying, yes, people say that there’s not a four, and using the Hindu system of Brahma, Vishnu, and Shiva, that’s just three. Is there a fourth? There doesn’t seem to be when it’s presented that way, but I feel that there’s a fourth because once in a great while we dream new information.

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