Posts Tagged ‘awakening to yourself’

25262976 - yin yang humanWe are all the characters in our dreams, males, females, the young and the old. Or, in this case, the naked and the clothed. And these interactions speak of the relationships between different aspects of our inner life, always with the goal in mind to find a connection and a flow. Yet here, what is expressed in an unvarnished way by the masculine, proves too much for the feminine to handle. So there is work to be done on both sides to bring them together in a workable way. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: It starts off, in the meditation dream, where I have a lot of frustration and struggle to contend with. That’s my way of saying that I reverbed, and I reverbed, and I reverbed in terms of trying to cause something very simple to be obviously known.

Because, in the dream, I have the assignment of revealing an inner invisible substance to an outer that requires proof in a tangible way; in other words with the ordinary senses. And there is a lot of frustration because there is nothing I can do to make this as visible, to those in the outer, as it is to me as an inner vibrational presence.

So what is going on is, I have caught up with a subtle vibration that I am able to tell affects the outer in a profound way. I notice this so much, vibrationally, that for me this is like a seeing. For others, that I am trying to make this known to, because they aren’t experiencing the vibration resonating within themselves, like I do, their visibility is kind of in a dense, or black-and-white way, and, as a result, this leaves me at a loss in revealing to them this ever-present way. In other words, it’s a flow, its ever-present way.

So then, when I come to bed, I come out of where I am staying. In my dream now, it’s like there’s a place next to something that’s like a quaint café. And in this quaint café there’s a proprietor, a woman proprietor. And when I come out of the house I just walk 40, 50 feet or something, along the sidewalk, and then there’s something in the middle of the fence area, along the sidewalk, before I walk up. And there’s actually a little outer area there where, you know, you have tables where you can eat outside on a deck, and stuff like cafés have, and she’s out there doing something with the tables to get them ready, and she hasn’t yet opened for the day.

So I come up along the side near the bottom, about the middle area of the fence area, and suddenly I realize I’m naked, which is the case that happens when I’m carrying an energy that is out of place in the ordinary sense of reality. The naked condition is over and over again. I see it as okay, and I act as if it’s okay, but once in a while I realize, you know, I’ve got to quit acting like everybody has to accept this.

So, as I come around the corner to where she’s at, kind of crept right up on her, and then I shield myself against a wall there because, all of sudden, I realize I’m naked and I’ve got to be careful how I come across, I ask if it is too early. She is mumbling to herself, and the inference has to do with something somewhere else bothering her.

As she sees me, she says, “I am so upset.” I say, “Did I do something to make you upset?” Deep down I know it is something else, but that’s just being polite. And then there is a sudden jump up energetic pulsation through my body, because I actually know that this has to do with her not being able to take in a certain flow that’s meant to come through, in an inner way. But I can’t tell her that. And, in this particular case, it has to do with somewhere, or something else, or however. And all the time know that her upsetness has to do with something she’s identifying somewhere else, yet I find it to be a curiosity, in a revealing sort of way, which requires me to be a support.

She says, “I will be right back,” as she has to contend with something bothering her inside, and has to go somewhere else to deal with it, because she was actually kind of going a little catatonic mumbling away to herself as she was cleaning the tables up.

So what is going on is, in this dream, although I am acting nonchalant, even though this doesn’t make sense to others, I am moving about in sync with an energetic, that is afoot in life, affecting others who are not able to sort it out. To me it is more visible. To them it is a frustration and discombobulation.

Until it is processed through, I just need to hold an empty space as this is the only way I know to support those who are going through things in the outer – unaware of a vibrational effect that is an inner unfoldment process affecting them from within.

Until there is a stop to let go; in other words, you have to quit the doingness. You have to kind of find that you have nothing that you absolutely have to do, because we fill every second in the outer with things that we have to do, and that prevents us from catching up with this flow, which comes from an emptiness. So until there is a stop, to let a flush-through to a shift in beingness occur, I and others who act this way are running from an inner awakening.

In other words, you’re acting on your frustration as a blockage, as a denial, as a veil that keeps you too busy to notice within. The answer is to let it flow, and accept the effect. And, when you do that, that’s when something intangible can happen. That’s when it’s a type of stillness in which there is a light substance now, that works, or help from wherever at a depth with wherever.

That’s just how it is until there is a full stop to face the energetic. Or, in other words, are you really facing the energetic? To a large degree, we face energetics by trying to understand that; that’s what psychology’s all about, to try to go back to where maybe it came from. But a higher octave of that is you just let the inner come into the outer, and the transitional shift is no longer kept at bay then.

So, what I’m describing is the way the inner higher-self vibratoriness makes its secret substance noticeable to our outerness of self. We must stop our doing in order to accept the vibrational impact; in order for the vibrational effect to make itself known from the greater emptiness space of our overall beingness. Only when we are still can our overall vibrational aliveness and beingness settle, as an insightfulness from within, into the manifestedness of a self in the outer.

So, as an observation, whenever you come across someone who’s acting really, really busy and all of that stuff, and doesn’t have time to pause for a split second, is constantly a go, go, go, go, that is a type of person who is keeping the inner from touching the outer.

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44000.jpgWe are constantly faced with situations that are new to us, situations that have no defined roadmap on how to proceed. What do we do? We reflect on our principles: our principles of what type of person we want to be. Are we honest? Do we want to have integrity? They will guide us and help us to proceed. At a higher level, we can turn to the principles of the universe to guide us: Is the world here for me, or am I here for the world? Should I just take what I think is mine, or is there some way I could help? Am I acting like an animal, or am I acting like a human being? In the face of the unknown, all we have is the principles we uphold. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So now I go into ways of dealing with this blindsidedness, and I have three different ways that I’m shown that I am to deal with this. In other words, what I just went through, the meditation dream, provided the big, big, big picture, and then this sets the scenario in terms of where I’m at. And now are the adabs, in terms of how to handle that condition. In other words, you just don’t flip flop about. You have to have some principles to work with.

And so the first one is the image in which I am being shown over, and over, and over again that my blindside is I just run down a street into a building – and I’m always naked when I do this. I’ve had dream after dream where I seem to come to grips with trying to break through something, and then glance at myself and I’m running around naked.

Everything I do has a part of me that is naked, which means I am reflecting back on all these dreams night after night. I actually have this part, which is very strange, and I keep throwing that out. I keep ignoring that. I don’t talk about that. I don’t look at that. I mean I just don’t know what to make out of it – but now I do.

The point of each image is, I need to pause, and then go forward. In that way I am shielded and have my kundalini energy under control. I can’t keep doing the other, meaning just up and doing something and then blanking it out as if that’s okay, because even though I may think it is okay it is not. Those who can look will eventually see. I need to be more attentive to my whereabouts between each part, and each point, of unfoldment.

Another reason this is deemed important is I am not able to hear the real sound succinctly, or see the inner light of realness in its entirety, so I need to watch my step. I need to use the clothes of the outer, which are there for a reason, as I move about. So, anyway, that’s point number one.

Point number two, that kind of keeps things unfolding properly, is you have to switch this inner into outer to an outer rising up to touch the inner. Or, you might say, light rising up to touch light. You have to switch that. People can grasp that in the following way with the principle of just the facts, which is something of an outerness coming out; instead of it staying in its density it rises up with just the facts, or an inner revelationalism.

It’s a kind of revealing, and it has a directional unfoldment, where there is a hiddenness that remains invisible, or, to the degree that it doesn’t remain invisible and people see more into it, it’s for those with the need to know to be able to see more into it. In other words, if it’s coming down from above, and you’re just pointing it out, that goes over the top. But if it’s just the facts, then that causes something to be ascertained in a way that is copacetic to how things are in a density.

And you could say, okay, it has to be that way because I’m not in a position to see the full picture so I have to leave that to the greater intertwinement process that lies beyond my current consciousness.

And then to further elucidate the point that I need to take note of the catatonic out of control conditions of things, of myself, again an aspect of kundalini because when you have the inner coming into the outer you tend to be set off in ways that are a bit awkward to handle, because you don’t have the usual principles of a groundedness.

And so I have this image in which there’s a car, and the car has this family, and there’s probably six or seven or eight of them in the family. In other words, they’re in the front seat and they’re in the back seat, and they’re of all ages. And one of the teenaged boys that’s a little prankish, and not quite right in the head, is apparently playing with matches in the car and has a little fire going there that actually, he thinks is all okay and controlled, and there tends to be a bit of a deniability or a frozen amnesia to the whole scenario. But, from this image, I know that what is going on you do not play around as if everything is okay.

So instead of waiting to see what is going to happen next, which is what the teenager is kind of like thinking it’s all under control and that he can get away with this, and everyone should just ignore it, I go out of my way to get everyone out of the car as a precaution.

So the three adabs of the three images, in terms of how to work with something in which you have to contend with not being able to see everything straightaway, because you don’t hear all of the sound, and you don’t see all of the light and, therefore, you can’t just flaunt about.

So you have three principles, you know, to account for inner into outer kundalini imbalance.

  1. You pause. In other words, you don’t need to race out. You see this often in the dream group, for example, where all of a sudden the inflection gets it going, and it gets out of control, and it doesn’t hold the energy; so you have to pause.
  2. You gather the facts and only the facts, which means that you’re causing the outer to proceed to the inner that way, or, in other words, the light to rise up to touch light after having been invoked by a vibration. But you don’t take and try to noodle the vibration in. You just try to portray, through a revelation, by showing the facts.
  3. You act proactively, as appearances dictate, rather than assume it will all work out – if the circumstances appear reckless.

Those are three adabs to work with. The reason why this kind of came up was because what I was feeling and sensing is that I’m a bit out of control, in terms of what I see, and that is actually something that needs to be put back into its genie box.

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sound33Everything is energy, and energy has a vibration (sound), and the vibration effects and changes the nature of the matter it comes in contact with. We, too, have a sound and a vibration. To develop is to raise the frequency of our vibration so that it is healing and helpful to what it resonates to, and comes in contact with. It is the coarser frequencies that set up vibrations that can rattle different states of matter into pieces. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: Maybe the way to put it is: we all have a type of internal dialogue. It’s a way that we cycle in terms of how it is that we are. And that internal dialogue, that way that we process, or orient, ourselves in relationship to things, is done with a type of generated, creative sound that we have access to – and we pull this sound out of the stillness.

Now we don’t realize that what we have done is we have caused the first aspect of substance to come into being, and the substance is sound. And with sound we’re creating, and we create the kind of world that we create, and we have this estrangement, in terms of our heart, because we are able to create the distance. We’re able to create like a duality of barriers between that vibration that’s coming into existence, coming in as a sound, and that sound then shapes manifestation.

Now to be able to see one’s self walk as an entity, that is a quality of sound. And that sound is having an effect, and that effect is generating manifestation; because you can catch up with that sound. You can get to the point where… I can take and I can look and I can see the sound of other people. The words are getting difficult here. “See” is not a word in this regard. I can denote the note of the sound of another person, and because I can denote the note of the sound of another person I can know what can happen for them, and what can’t happen for them. I can note to what degree they can understand something, or can’t understand something.

Unbelievable that it comes down to something as trite as that, as sound. There’s all kinds of aspects to the sound: you can get to where you can see where people are lost in their sound waves, and there’s no way of snapping them out of them being lost. And a given sound wave that they are going about in life creating through the mire of things, creating a motion, in other words, the real subject that we’re on is the ever, ever, ever, greater, greater, greater deeper, deeper, deeper level of stillness, and a type of stillness has a loudness of sound.

A deeper, deeper, deeper level of stillness has a quality of light. A deeper, deeper, deeper, deeper level of stillness has no light, and has no sound, and it’s a nothingness.

When you sleep, and when you let go, and when you get quiet, and when you drop the senses and the mind to some degree as a sleep sort of condition, you are working with aspects of sound and light in a different way.

If you approach this in a very scientific way, first you have this overall vibration. And in this overall vibration, the Bible calls it the “Word.” In the beginning was the Word, and out of this Word everything was created. And so that’s the beginning of the Bible, and it says so in both the Bible and the Koran, that all things are created out of sound, out of this Word.

So the key is to take a look and catch up with all of that by playing with, and dealing with, all the adjectives, or the adverbs of it. So first of all you have the sound, and the sound is a vibration and you could say that it is encompassed within the parameters of a breath, and that breath includes the universe, the in-breath and the out-breath, the up and the down, the up and the down.

Everything’s going on there, and then comes the adverbs out of it. The adverbs out of it is if you want to allow yourself to wander a little bit, you notice that there is sound. If you want to let yourself go into another type of stillness, there is a light. If you want to let yourself go into a type of ecstasy, there is a taste, or a nectar. These are all adverbs of the principle which is a noun, which is the sound, that is the Word, that is the creation of all things.

From a scientific standpoint you can split the atom, and when you split the atom you’re going to have tremendous light, you’re going to have tremendous sound. It’s palpable. All of that becomes palpable when you split the atom. And when you’re doing all of this inside yourself

you’re discovering it in the minute this way, because as something is in its singularity, it is in its immenseness in terms of however it’s conglomerated together.

So you can take and go on these little separate journeys, instead of just being able to stay within the aspects of the all pervasive sound, you can ride your own sound wave. And when you ride your own sound wave you’re riding your own way of seeing yourself, or feeling yourself, or however that word needs to be, that is a note that has to do with you.

Now, as you go about in life, you actually know that this person is like this and that person is like that, but you don’t know why it is that you note this person is like that and that person is like that, and why it is that you might feel a little sad that this person is like that, and another person is in another way. And it’s because you can hear their sound. You don’t know that you can hear their sound. Just like there’s a light that you supposedly can’t see, and yet you need to catch up with because that’s what a Sufi is.

The same thing is true with the sound. There is a sound that you need to catch up with, that you actually are hearing but don’t know that you’re hearing. It carries the feeling, the emotion. It carries the content of everything. The sound compacts the content of everything. If you’re real angry you can take and you can bust things; you’re using a quality of turbulency on a sound orientation, and so you carry a note, and that note is a type of turbulency, and in that note you come across.

So if you’re talking to somebody and they don’t understand what you’re saying, it’s because you haven’t figured out how to talk to them in a way to hold their attention so that the note that is going on in them doesn’t blot it out. What’s interesting is you find that there are more and more and more people that a person’s attention has to be streamlined to just a specific subject matter, or note, where their attention is at, where their vibratory attention is at. And if you start jumping this way and that way, they want only this note.

So you learn the art of bicycling around in terms of moving this note, changing this note, but you can only change this note and flicker this note with a person who’s able to let go, to some degree let go, to where they can suddenly see that there’s something else, and they can hear it. But will they be able to sustain it, because the tendency is to fall back to this note or this sound that they hear that is them?

What we’re talking about is we’re making a mockery out of what existence is, in terms of a human being, that a human being that is walking around is walking around carrying some sort of bifurcated storyline that they tell themselves, that’s a note on a vibrational level, that is a quality of sound.

On a vibratory level, it’s all there. On a sound level it’s all there. If you catch up with the bifurcatedness of sound of your being, in other words the part of yourself that’s off on its tangent doing its own thing, if you catch up with that, you then take into account the wholeness of an accountability of that; they can change, they can shift.

So I’m beginning to think that the quality of sound, and a quality of flow, the quality of sound that then becomes a quality towards a type of consciousness where one takes on a particular demeanor and can shape other things, in terms of demeanor, in other words can set up an environment that they consider conducive and can hold it together with a quality of a sound orientation – and you could say that this is like a type of internal dialogue that one has that holds it together.

It’s a very strange way of talking about a kind of substance that is so subtle that it permeates, and has an effect, upon a denser substance that’s in the overall, and you’re doing it with this subtler substance and we’re calling the subtler substance sound. And that you can go then beyond the sound to a quality of light, which is also a type of substance, but it’s even a subtler, subtler, subtler substance. And that, ultimately, when it’s all said and done, all of it just can go “poof,” if you can hit the total stillness – but you have to hit the stillness without any of the adverbs going on.

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