Posts Tagged ‘being a co-creator’

journey_across_the_mountains_by_wildwassAs her dream images from the night continue (see A Perfect Conduit), Jeane finds herself shifting between climbing a mountain to cross a border, to the mundane of getting a haircut, to moving her father to a new state. What these images have in common is the theme of transitioning to a new zone. The mundane aspect of the haircut shows there are still old things that need to be let go of before the transition to the new area can be made. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Then I remember a little bit of a dream where I seem to be climbing with some others. I’m climbing in the mountains in a foreign country. They’re very steep. 

It’s like I’m trying to get across the border, but what I remember the border is in these mountains, it’s very uneven, and you don’t even quite know when you’ve crossed it, and it’s steep, very steep.

You might reach up to climb somewhere, and maybe you can get through there and maybe you can’t, but then there are little villages or people that maybe come and finally help you on that climb. And I think it was on that climb that I saw an area where maybe the ocean came in and it carved this great big swath up the mountainside, and then it would retreat.

And it was different colors there, maybe there are caves there, too, because that comes back in the next dream.

John: All that this dream is really doing, and I have this component in mine, too, is that it’s showing that you actually have a certain focus and intention to take and go a place that’s the beyond of the beyond.

And so you kind of Hail Mary out like that, but the importance of the dream is to show that you have help. In your particular case it’s just a matter of flow. The villagers are going to help you as you have to transcend this journey, or go through this process. It puts you at the in-between state between two places.

Jeane: So then the dream I was having, when you decided we should wake up, in that dream it feels like I’m part of a family. 

I’m young, so I have parents. I’ve gone in to get my hair cut. Well, the hairdresser is a little distracted when she has other things going on, and so it’s like first she wants me to sit down one place, and then she gets kind of captivated by how my hair is looking in one area. 

I think I’m kind of a redhead even. Then she has to go outside for a smoke, so I have to find the right place to sit and the right chair to be on. I finally find this black chair that’s her chair. 

Then there was something she wanted me to stick under my forehead like a cap, which captures the hair so it doesn’t drip on you. I’m trying to figure out how it’s going to catch the hair, and how to get it on right because it just goes half of the way around your head – and where does it go exactly?

I’m going through all of those and finding this little scooting chair to sit on, waiting for her to come back from getting her cigarette. Then my mind is going to the fact that my father’s moving. We’ve been working in this one area, it feels like in Colorado, and he’s going to be moving.

And I see that when we move, he’s actually going to discover that place in the mountains where the water comes rushing in and you have caves up above. And I can see how the water comes in, and it creates all these kind of wondrous colors in the rock. 

It’s just like really a sight to see because it goes up really high, and it has all these different colors in the rocks, and maybe you can go up even higher and there are caves. This is an area maybe even where people would have protested war, and maybe my dad works in the defense industry, so I realize that when he sees all of this it’s really going to change some things for him because it’s not something he has been exposed to before. 

That’s when you woke me up.

John: That’s actually very deep again, because the whole jerking out of a situation, which was like a rescue, or a help, or an extraction, it’s like you are part of a natural flow, and when you’re part of a natural flow, things help you.

What you’re doing is very arduous and difficult, but things help you. And even though it looks rough and ragged and arduous and difficult, it actually is mountain, waterfalls and things… I mean, you know, it goes from a stark image to an image in which something is in a whole different schematic.

In other words, you actually are going into a whole new zone of yourself. You’re dropping some sort of energetic motif that had been holding you back. And so the first part of the last dream has to do with having to feel what it’s like to feel the stodgy of the smoking part, the part that’s kind of in a habituation and kind of off to one side and discombobulated.

And you are sitting in a barber thing to get your hair cut or done or something, knowing that that’s going to come back, and that process is to put you into a different framework. And then you’re able to see that this framework has to do with you being in an entirely different place, like in Colorado or something like that.

In other words, a whole different setting is designed to occur. You see this by way of the fact that that’s how you’re finding and seeing your father now, which means that’s how you’re finding and seeing this quality of yourself in a different, connected way to something so much more, which hadn’t been there, but is now suddenly in the equation.

It’s in a different state even. The huge sensation of this dream is noting how to plug in or deal with your dad in this other state. Which means that you’re shifting to this other state, that you’re able to allow the energies to flow through you, those which help you. To me it is like an extraction, and it’s very difficult.

And all you had to do in order to get it was to realize that you can’t be making a big deal out of anything, up or down, inner or outer, because you’re in-between. And because you’re in-between you have access, you’re an access vehicle for what needs to unfold or transpire.

It goes back to kind of like what we had talked about in dreams before, that you’re not the will of God, but you have access to it. You have access to this flow that comes through, and that access, the person who is able to be the watcher, or the guide that brings it forth, to see it unfold, that’s the co-creator quality. That’s what the co-creator quality looks like.

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divine-awakening-john-paul-polkThis dream is the second of the night for Jeane (see A New Level of Awareness), and it progresses her journey toward a greater access within. Part of this process is to be able to embody the higher energies she is accessing. Said another way, it’s not enough for a human to be connected to higher things, true service begins when we are able to bring those things into life, through our life. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In the next dream, I seem to still be in this daylight basement apartment, except now I’m kind of laying on a narrower bed that’s right next to a wall, which is next to the door that comes in. And you’re standing down near the end. 

There might be some other people around, and you’re down near the end of the bed, near the doorway. I suddenly notice that there’s a blackberry bush at the end of the bed, and it has these really ripe blackberries on it, big blackberries. 

So I’m telling you about some that I can see, which I think you ought to eat, and then my eye is caught about the fact that I look over to the right near the end also, but over more towards the middle of the room, and there was an arbor there, just a small little wooden arbor, and I just thought that what was growing around it was a bush that would flower or something, but I suddenly notice that it’s actually like a Spanish olive tree, like it has green olives hanging on it that are just ripe now.

So I’m fascinated by the olives. I would like one of those. They’re just these green olives. I’m just amazed. I had thought that whatever was over there was just a bush or something, and here it’s growing these green olives.

John: And all of this is in the daylight basement apartment?

It’s a cute way of pointing out that there is a state inside, in which one of the traits about it is the condition of love isn’t there because it’s that quiet, it’s that removed, it’s that other.

The state of love is the vibration of an impact that hits between the inner and the outer, and there’s a tremendous receptivity and linkage and connection and aliveness of the two coming together, and that’s the condition and state of love. 

However, in between can be a state that you can feel is awakening, or is an aliveness. It’s like a motion coming into emotion, which hasn’t yet been carried into an actionable duty, in through the physical. In other words, it has something, it has a life or it has a something as a flicker of vibration that gets brought through. And you can be aware of that, and then if you’re a person that is able to carry this greater Wholeness inside of yourself, you naturally go around and you embody that into life.

And it’s something that is really alive right now, because it’s meant to be brought through. It’s like a blackberry – it’s something that when you start eating it, you can just go off and indulge in that.

But an olive is something that you take note of because it tweaks, but the taste and whatnot is not something you just gobble and gobble and gobble and gobble. It’s not necessarily a spice, either. It’s in-between with its saltiness and such, but it helps to create the distinction.

In other words, just seeing the blackberries in some zone as a vibration, that isn’t in keeping with, say, ordinary senses, that’s not necessarily three-dimensional yet, or 3-D vision. That’s still linear vision. That’s a this and a that.

What gives it the 3-D, that gives it the depth perception, just like a painting, what gives it the depth perception is that other astringent characteristic, which is the salty olive. And so you’re attempting to embody this sort of quality, and so what you’re doing is, is you’re reaching or touching a level of awareness that is only, if it were to be described in terms of chambers of the heart, it would be in the third and fourth type chamber of the heart because it’s not something that your physical attention dwells upon. 

It’s something that goes beyond the physical attention and has to do with what’s occurring on a whole other inner level, which is also there, and that you are able to have an attention upon that.

You have to put the two dreams together, and when you put the two dreams together, there’s a part of you that is trying to expand and have an awareness of a greater Wholeness but, as you see it, this could create a confusion for how it is that you currently are carrying yourself.

So, is this something that can be included or taken on? Well, you have your “yes, buts,” in that, but you don’t exactly say no, and so what you do is you work upon this in a whole other side of yourself, or another level of yourself, because you know that it’s there, and therefore you have to have an orientation or responsibility to that in terms of how you contain all of this in terms of your overall beingness.

The thing is yes, you are in the outer though and you do have the responsibilities of how it is that you maintain a particular persona in the outer. And yet you have this going on that you also have to figure out how to embody as a linkage.

And so your second dream attempts to tell you what that other thing is that you also have to embody as a linkage, as a type of substance inside of you, even though it’s not actually a type of substance that’s readily at hand in the outer, because you go back to the same place, the daylight basement.

In other words, a place neither on the physical level, nor deep within – this in-between state. You go back to that, and you then give yourself additional information that when you really truly take on this particular quality of a very, very subtle note, that what it does is it puts you into an awareness that first of all has something on the other side, then it creates the image of it in terms of its greater viability with the olive bush, which gives it the three dimensions just like a painting.

You can have a picture and the picture is flat, and then you can have a painting and the artist who is shading and whatnot can give it the three-dimensional quality, and the blackberries can just be black-and-white in terms of inside of you, in terms of there’s this as a pulling, and then there’s the that in the outer, and it’s the olives that give you the ability to figure out how to kind of integrate it, or tweak it to create the curiosity. Well, I call it a type of depth perception where it’s more than what it appears, just like when you look at a painting.

It can have this whole sense of more than what it appears built right into it, somehow communicated by the artist right into the artwork and you’re doing this in terms of that level that you’re able to come to grips with.

What’s interesting is how you do that, and what’s really, really interesting is how does one take and clearly differentiate this way of doing things? Essentially the same thing as I’m doing, but it certainly doesn’t sound like it because I do this from kind of a masculine mannerism, and you’re doing it from an overallness, a maintaining of a state.

I’m trying to cause something to be readily visible. You’re trying to cause something to be built into the overallness of the environment, even though it’s not within the realm of the senses. At least it’s in the overallness of the environment that you’re able to perceive.

When you’re able to perceive that, you’re reaching a level of acuity, this third and fourth chamber of the heart, that’s where the co-creator level comes in, because the first and the second chamber of the heart is just a means to try to get to a point where you can have this kind of access. 

Your longings in the first level get the best of you, as you flicker back and forth in a bewilderedness, and your energeticness, which can punch through things but it’s still and still like in the training-wheel cycle of a bike, falling down all the time, learning through that process of back and forthism, but at least it’s carrying some sort of energetic expression into life.

That’s the second chamber, and then the third chamber steps back from both of those. The first and second are on levels that other people can kind of follow and monitor, but when you step back in the third and fourth, you’re in a place that is fairly invisible, as a general rule.

That’s why even in the Bible the images of the burning bush and stuff like that, or in your particular case the blackberry bush and the olive bush. And the olive bush also symbolizes something more in that in ancientness this is a Biblical mysticism, the olive bush is the symbol for peace.

What you need to try to do is not lose track of the vibration of your dream, so that you see if you can sense how this looks or comes about, because the feminine carries more of this overallness back. It’s kind of an in-breath. It carries it back into a Wholeness to where it goes all the way to the state where there’s that interval of in-breath coming into out-breath.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: More Than It Appears

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