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Posts Tagged ‘behind the veils’

7D42mV5We all have psychologies that have arisen in us, originally to help us make sense of, and handle, something we’ve experienced. Yet as we get older and find ourselves on a development path, many of our psychologies (our shadow dynamics) become blockages to our progress and to our freedom to flow. In this dream image, we see one aspect of the dreamer trying to reveal something to another character in the dream, understanding that it will take some convincing – or proof – to bring that aspect on board. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So, in my dream, a person who failed to take a step, when the opportunity was there for him, is now before a person who was able to reveal what is possible. In other words, they failed to take an important step. In other words, they didn’t see something and now, all of a sudden, it’s like getting a second chance or something to be able to see something.

So, in the image, there is a truck in which the contents inside are veiled by a coating of rock that lies underneath that which is above. Okay, so what you have is you have a person who has a sense of something more, maybe a sense that goes all the way to the soul level. Then you have another person and they still need to go through something to see the contents of this vehicle that can go, that can be driven, what the contents inside of that are all about.

So there’s a veil. So I have a greater sense of the contents, but I can’t necessarily get that to be seen by this other part of myself. So it’s like one can describe and whatnot, but if it’s not seen you have a problem. It’s as if it’s veiled. It’s like this veil is a veil that has to do with rock, and there’s a thin layer of rock that comes underneath the truck and the contents are up above, and so you can’t get the contents to tumble out, or you can’t access them because it’s cased.

Even though I can have a sense of what’s inside, that’s not going to do any good if I can’t get that sense to come across so that someone else can notice it, so that they can notice the color, and the way that the appearance is, because otherwise it’s veiled from them. They don’t have access to the light of it.

So what I do is I take and, it’s just like a shale rock, I take and I slab that away. It’s only about yay thick, that’s underneath the truck. I slab that away. And when it falls it falls into buildable pieces that have a natural rock color to them – but it also opens up, then, the recognition of what is in this truck, that travels in this truck.

And so that’s what I have to do in terms of working with another. I can have the sense within, but that doesn’t go anywhere if you don’t bring it down into life and open it up so that someone else gets a glimpse.

So as a person who knows, I have to reveal to this person what is missing, or break the veil, so what I do is I take my finger along a crack seam in which there’s this rock thing that imbeds it, I apply a little bit of pressure and the whole veiled piece falls to the ground. What is veiled is exposed.

I watch this. Having done this I now watch this because in doing this I’m still working with shadow dynamics of myself, to pull together, because they’re all parts that have to come together in me as I hold a concentrated focus of presence. And my shadow is starting to walk away, so I have to get its attention knowing that seeing is believing.

And so what’s revealed is that once the veil has shifted, and there are no deductible limitations like the veil, all that is intended becomes revealed before us, as possible.

As all is being sussed out, then I go directly, because what I’m describing is the step that I have to work with to crack through something on behalf of parts of myself that have to have that kind of probing.

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

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Beynac-01

David Billa

Jeane finds herself in an old castle in a foreign land, which is a good description of the world we experience when we are merely playing out our usual patterns and psychologies. Why? Because the world is new every moment, and if we want to have any inkling of what is really at play, we need to experience it just as freshly as it is happening. We may never be free of all our mannerisms, but we need to tear down the fortress. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I had these long dreams and I only seemed to pull out a small part of them. I know in one dream I’m going through a really old structure like a castle in a foreign land. It’s like I go from room to room and observe the people there, and then I seem to be leaving the castle because it feels like the country’s at war and you have to evacuate.

And I go out onto the square and there are some trucks that you don’t know whether they’ll let you on them or not. They’re like the kind of trucks that have a back and open that soldiers are piled in, and you don’t know if there’s any room. You don’t even know whether they’re friendly soldiers or enemy soldiers – and they’re in a large square.

But I go up to one truck and the soldier on the running board seems like he recognizes me, that he knows my boyfriend or something, so he lets me in the truck. And then I discover there’s not really that many people inside the truck, once you get in; it’s an open back. So I go to the back of the truck and I start pulling up some women, but it’s like these women they’re more two dimensional, like they only seem to be about an inch or two thick or something, so they kind of slide over the back of the truck kind of like you see in a cartoon thing. Some of them I pull in and some I don’t because I’m kind of a little confused about how they look, too.

And then it feels like it just shifts to where in order for me to get out of somewhere I go up to a woman who’s wearing a long… it’s like the bottom of the dress is black and the top is white and she’s holding two things. It might be some type of sustenance or food, that she holds up near the top, that it feels like I need to get. The dreams are just kind of flitting… they’re long dreams but they just don’t stay with me.

John: What you’re trying to sift away from, or let go of, is something that you’re feeling as a tone, or mood, or mannerism, or demeanor, or energetic that you have, that you realize limits you.

You can’t help it, you still feel it, and you know that there’s something so much more if you didn’t feel that because by feeling it it defines you and causes you to have to be in a particular way. And that’s kind of like the awkwardness, or the struggle, you find yourself engaged in in the dream.

What the dream is doing is it is working at enabling you to recognize that there is so much more than just that characteristic that we take on. In other words, when we take something on, when we have a particular mood and are in a particular mannerism we are pretty much… or the tendency, I should say, is to be stuck there, to hold onto it, to not know how to shake it off, to not know how to let go of it, to maybe have a fear of letting go but thinking that we have to contend with it in some fashion.

And so what’s happening is it’s kind of like being tossed around by the fact that there is this characteristic that has its way with you, and you are sensing that you need to let go of it, and break free of it, and that you need to come into more of your true, natural, feminine, overall being by going inside. But what you see inside doesn’t seem to have any continuity to it. In other words, the women slide back and forth. In other words, they don’t quite own their space yet.

Well basically what’s going on there is a type of probing, in other words, you sense how it is. There’s a sense of something alive or awakening inside of you and so you are attempting to touch that, with the image that you’re having where you are migrating across and to a quality of being in which something like that is able to be accessed, realized, and lived.

The theme of the dreaming last night had to do with this quality of recognition that comes through of an inner awakening that stands behind everything that exists in our environment. In other words, when you are hip, so to speak, hip to this whole inner transmission flow from within, a way that you see yourself in the outer where it’s in a world of projection, and there are all of these various things that affect you in some fashion or another, it’s hard to take any of that too literally, or too seriously, because you come to recognize that behind every expression and mannerism of yourself is this inner essence that is moving around, or is coming into fruition.

And this is a type of fruition that exudes and extends out over everything around you, but it can’t, and doesn’t, do that when you find yourself trapped, or stuck, or holding out in a particular mood, mannerism, motif.

And the outer is the greater teacher because it will show you to be in some sort of projected state, or there will be things that will be projected that will touch and effect you. And that effect you have to see beyond, you have to live beyond, you have to peer beyond to where there is that awakening inner aliveness that is behind it all. Even if it’s veiled, even if you can’t see it but you can just sense it, the key is to keep sensing it and sensing it until it consumes you or becomes you.

The shift that you went into was something that you were shaping as an image in relationship to that space, so that what you were able to start to see, in terms of yourself in the outer, would be something more in conformity to this inner quality coming into its own.

The prior aspect of the dream had to do with you on the hunt, so to speak, of that, and not quite catching up with it as it is intended to be caught up with – so that it exudes over your entire being.

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

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Piercing-the-Veil-1If everything we see is merely the reflection, or representation, of something happening in the energy realms, wouldn’t we be a lot closer to knowing what is going on by understanding what is happening behind the physical scenarios? For example, if we hear an idea, what if, instead on examining the idea, we examine where the idea came from? Or if we think, not who wrote that book or made that movie, but what wrote that book and what made that movie? If we begin to explore these unseen realms, we may begin to see more clearly. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: What I am noticing and dreaming about lately, and I’m having to sort it out because it’s not a high-energized kind of thing, because what’s happening is I’m having to notice that my actions and activities in the outer I’m having to look at them all in terms of what’s going on behind that.

And so I’m finding myself watching myself tell whatever stories, or explain whatever I’m explaining in terms of however it is that I’m dealing with something. I find myself listening as if I’m asking the question: what’s behind that? What’s the subtle thing that’s in motion behind all of that, that’s trying to make itself known? And that however it is that I’m conducting myself in the outer is the best that I’m able to do by some sort of reflective recognition – and, of course, I don’t make the identification.

I don’t notice that, I mean you don’t notice that right away. I mean little by little I guess you kind of start to notice it because you realize that, when you’re relating to someone, you’re always trying to touch something other than the subject matter, you’re always trying to get in a little note or quality in edgewise. But I hadn’t taken and stopped and looked at everything about myself and realized that behind that is something noodling around.

In other words, I hadn’t sat and dwelled with that. And then after having some dreams that showed that it was like that, then I was presented with dreaming about trying to do something that I was familiar with 20 years ago, or 10 years ago or whatever, and finding out that it doesn’t work that way anymore.

In other words I don’t get the kind of benefit that I’m accustomed to getting out of something like that in the past. Let’s say it was a game of ping-pong, table tennis, or could it be a game of chess in which it’s really, really competitive. One person’s going to get defeated, going to get crushed in some fashion.

And so I go back in a dream to play the game according to some memory that I have about it, you know, in terms of how it was that I did this in the past. And I don’t find it to be that way anymore. There’s something entirely different about it, and my interest needs to be in terms of what is different about it because that is what is considered of importance, that is real now, in terms of the energetic.

And so if it’s a competitive game, that whole dueling competitiveness is shifted out of it. Instead there is a greater dynamic in play. And so I can’t help but notice, as much as I would like to stay perhaps in this mode of heavy focus concentration competitiveness, people walk away from me because it’s not done that way anymore.

And so then if I quit trying to do that, and allow myself to be quiet, then they’ll explain to me the new setup. And so what I’m seeing from this is this quality in which something is coming into life, and it comes into life when you let go of kind of a perspective or mannerism that you’re used to holding out on in kind of a loud capacity way; you know that you’re familiar with, in terms of patterns, and memories, and upbringing, whatever it might be.

If you can just let go of that, then something in a greater overall is presented and it always has to do with intertwining, working in correlation to a greater whole, and it has to do with presenting something from behind the game itself.

In other words, there’s the activity, but then there’s something else that you’re hearing. In other words, you may act and express something in the outer, but that acting and expressing something in the outer is tied, really directly tied, to hearing something else as the main dictate.

It’s loaded with hints. What I mean by hints is the subject matter is not what was going on. The subject matter that I’m portraying is something that I went through, but vibrationally behind that is something keener, that’s more in tune with what’s important in an overall consequence of life.

And everything’s done in relationship to a bigger picture. In other words, like in my dream I couldn’t play ping-pong like I’m used to playing ping-pong because there was a different overallness about it that was now present in terms of how the game unfolded. It didn’t have that other intensity to it anymore.

And when that other intensity was there, then the recognition of something subtler, and quieter, would otherwise be lost – if the intensity was there.

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

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