Posts Tagged ‘bridging the inner and the outer’


Winslow Homer

What is the difference between a casual artist and a great artist? In the simplest terms, it has to do with what the person is connected to when they do their work. Whether they are conscious of it or not, the great artist is bringing the unseen worlds into what is physically produced, imbuing it energetically. And it is that energetic that moves people when the work is viewed – and it can last for many centuries and still move people, because it is universal, not temporal. We can view our own life in the same way: do we live casually in the physical realms, or are we connecting the unseen worlds into our life, raising it to the level of art? (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, I just had one dream, and I didn’t particularly like it. In this dream, I seem to work for some kind of a bureaucratic agency, that’s maybe like the Parks Department. And we’re in charge of a beach area that feels like kind of a rugged coastal area, that has big waves, and rocks, and sand, and some areas where people can come and swim and things, and the buildings all associated with that. 

And one of the bureaucrats above me has commissioned us an initial sketch for a painting they want to put on one of the walls of one of the beach areas, and he wants to show the sandy beach with big stormy waves, and some kind of bronzed, bare-chested mermaid figure, kind of like the ones that they put on the prow of a ship, and a little row boat half-buried in the sand. And that’s kind of the overall theme of the painting. 

And then he also has taken everybody involved in the painting, or maybe that works in the area, and taken us all down to the beach for a photo op, complete with a bronze statue of a mermaid. And then after he goes back to the office, I start thinking about all this, and the first thing is that it just feels off to me. Because, even for the sketch, he employed an artist that is a poor artist. So it’s just like he muddled around in the paints, in terms of their colors, and what’s actually shown on the painting. I just don’t think it’s a very good painting. 

He’s also someone that none of us relate to that well. And I think in order to see what should really be done that we need to get a better artist, even, to do the sketch. It seems like I know somebody that is a better artist. So I get together everybody again, and go down to the beach for another photo op without him, and even though I can see how that goes well, at this point, I think I’m waking up and I’m beginning to realize that there’s something flawed about the whole thing. Like he’s kind of trying to do a painting of a scene that doesn’t really exist. And it’s not even really a family friendly scene, in a way, with the mermaid and all that. 

And when I think about how the beach really should be used by families, and how it really looks, and what this painting looks like, it seems to me like, you know, we need to toss out the whole idea and start over again. So it’s kind of like this dissatisfied feeling with it all, where I was trying to fix it at first, and then I didn’t even see that it was that fixable.

John: That’s a tremendous dream. First of all, the theme of the dreaming last night had to do with the significance of the inner, and how does that correlate to the outer? My meditation dream went into the depths of the inner, as if that’s the end all, be all of something, in terms of how the vibrations that rise out of a stillness and have images that one can dream can become so vivid that one can put them into an alignment and remember the vibration and all of that, as if that’s a whole realness on the inner. 

And so that would imply and suggest that the reflective outer is really an extreme bifurcation that gets in the way from something that can unfold in that kind of dynamic that doesn’t have the denseness of the outer getting in the way. Then, when I went to sleep, I was shown that there has to be this other half because it’s important for reasons too, and I’m not necessarily shown the reasons, I’m just shown images of what it looks like when you don’t have that other component, or that other half. 

I’m just shown that there is that other half, then, in other words, and in your dream, you start off and you just take and you refer to the innerness as bureaucratic. And you refer to that which can be painted, and drawn, or made into like a ship, or a mast, or whatever, as a reflective re-creation of a vibratoriness that doesn’t really exist. 

And so you have an uneasiness in both sides; you’re uneasy in regard to the bureaucrat, and you’re uneasy with regard to the ploys in the outer. And so you find yourself at the shoreline, or between the two worlds. And, the dilemma is, can the painter, or the designer, work with the two aspects? In other words, can the painter and the designer hone a painting that is a better reflection of how things are in the unreal? In other words, as a kind of reflective imaginative, can the painter portray that?

And, of course, to portray that the painter’s going to have to contend with the lunacy of the orders and the directives, and the whole aspect that’s imposed by the bureaucrat, or the inner. In other words, the inner is coming through, much like a type of bureaucrat, if you were to try to look at things from the standpoint of having to be part of an in-manifestation, at the point between the two worlds, the shoreline, the beach. And, of course, you can’t really buy into the whole outer expanse of things that are like something that rises up and has a vibratoriness that can be imaged in the outer, because that’s all reflective and isn’t real, either. 

However, your dream is indicating, that what is important in your dream is the work of the painter, the one who has to take the two aspects, the inner and the outer, and come up with a result that pulls all of that together, somehow.

In other words, the transcendent isn’t where it’s at. And the reflective isn’t where it’s at, yet somehow or another, at that point between the two seas, the inner and the outer, is something that can be done, or something that can be brought through, like you say, a painting that can be embraceable by everybody, both sides, both the inner and outer, right? Brings the two together. It’s nice that you had that dream because it kind of helps put things into perspective because I went to both extremes.

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

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vibrational-energyThis dream is the second image from the same night (see Out of the Equation), and Jeane finds herself wrestling with the same issue – trying to fit in to a scenario or situation that doesn’t know what to make of her. If we consider that everything vibrates at certain frequencies, even other people, we can begin to understand how our level of vibration can effect other’s abilities to relate to us. If we are at a higher vibrational state, those at a lower vibrational state won’t “see” us in the same way. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Then I seem to have gone into this building, it’s some kind of a store and business. It’s kind of large. 

I go in and I have this feeling like I want to get a job there, but I don’t feel like the business is run very well in a certain degree, so I try to find these three women that run the store to see about getting a job. But they’ve rushed by me into some kind of a boardroom for a meeting. 

They have a little bit of ditsy witch energy, that’s the best way I can describe it, but friendly. I mean, positive in a way, but just odd. So since they’ve gone in there, I decide I’m going to go ahead and make myself useful. 

They may or may not hire me, I don’t know, but I’m going to go make myself useful anyway. So I go up and there’s a desk that’s almost like a concierge’s desk, obviously this guy kind of is in charge of a certain number of things right outside the boardroom door, so I go over and just tell him I plan on making myself useful and I want to interview with him in a while.

And he just kind of watches me, and then I tell him I can answer the phone. He gets up and he has to do something, so I tell him I’ll answer his phone. He just looks at me, and I notice first that he has a very odd-shaped phone, but I answer it, and then when I go to take a message I notice that he has this message notebook on his desk, but he keeps it the opposite of most people. 

Most people start at the front of a book and then the later messages are in the back of the book. Well, he starts at the back, and the most recent messages are at the front of the book, and then pages that contain important messages have some paperclips on them. 

I actually think that’s a really reasonable way to keep a book, because most recent messages then are always right there on top in the front of the book. I kind of like that. Then I’m looking for something else to do, and even wondering if I should go out and help put some of the merchandise in order because it’s not real neat or something.

And the boardroom door flies open and the three women seem to scatter before I can talk to them. But there’s a young woman who’s like a customer that’s with them who seems a little disoriented.

So I decide to go over and help her, and I discover one of the problems is that she has this dog food bag, one of those large ones, that she has with her, so I look in there to see what she has, and she has a bunch of potato chips she wants to eat, which are right on top of the dog food. 

I look at her and I’d say, “Well, if you want to eat those that’s okay, but you can’t do it like this, they’re just going to smell and taste like dog food. I have to find you a proper container.” I look around to find a proper container and that’s when I wake up.

John: So you’re continuing the schematic in which you’re in a place that is at a different level of mannerism than everybody else, so if you go to try to plug in, or get a job, or act like you can be part of that way of being, you find that their perception of you is such that, because you’ve changed, that you’re different on a level of energetic, that they don’t know what to do with you.

And this level of perception that you have, can see the end present at the beginning of things. In other words, you have a sense that can kind of appreciate what they do because you can see something more in it, but they can’t necessarily see what it is that you see, nor can you communicate it, even though you try, even though you go through innocent expressive mannerisms that you call making yourself useful.

They just stare at you. That just doesn’t make any sense to them. They have what they consider the accepted way that one needs to act and conduct themselves, and you’re not fitting that mode, that motif. And so they go about doing very banal and self-degrading things where you have the dog food and the chips coming in.

What you can see that they’re doing is very degrading of who they can be, and yet they can’t necessarily realize how this is stinking them up.

Jeane: Well, the gal that was doing it with the dog food, she was a customer. She wasn’t one of the people running the office.

John: Well, what she’s reflecting is how that demeanor rubs off on others, and others are actually you, too, especially if you get caught in the self-consciousness of trying to fit in like them. But technically you can’t, and any suggestions that you make to try to bridge that, like she is something trying to bridge that as she comes in with the idea of chips versus dog food, or anything like that that comes in to the image, it just doesn’t go over. It doesn’t translate across.

So the theme of the dreaming was a very, very peculiar subject that has to do with where one is suddenly seeing themselves as unable to bring across, or to communicate, or to translate, or to cause the inflection within others, of a space, or a place, or a mannerism, or a way of being that one carries. 

And that is like a type of bipolar behavior, in relationship to the inner versus the outer, in which the inner communication is speeded up, and when it is like that tends to see something else in slow motion. And that something else tends to see who you are as bizarre, out of place, peculiar, and just strange or different.

And so what results is that there isn’t a connection, or a proper dialogue, or an inner into outer shift that is possible. That sits in one way, you sit in another way, and a peculiarity just exists because of the difference in terms of levels of being.

In your dream it’s more of a mannerism of, you find yourself in a setting, a couple of different settings, and you’re just trying to, from that, be in a way that makes sense – and is accepted as making sense – in terms of everything in the setting. And you can’t do it.

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

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Jeane: In my dream it feels like I’ve had someone imprisoned in a hospital for something they did. I’m pretty sure it’s a woman, but sometimes I seem to think about them as a man, so I’m not positive on that part.

Some time has passed, and now another man and I are going to the hospital; we’re going to smuggle this person out and break them free. This will probably be as much a surprise to the person in the hospital as it would be if the hospital staff discovered that we’re the ones doing it.

So we have to distract the staff and smuggle the person out. I get them in my car and then I have to decide whether to have them hide, or maybe cut their hair short, so if it’s a woman she can now be disguised as a man until we can get past any roadblocks.

I’m trying to go through different scenarios of how best to keep hidden. Then we drive off.

I have the impression that one of the reasons I can break this person free now is that my children have all grown up. So it feels safe to let this person out or to break them out. There’s also some kind of intense dialogue I seem to have with them now.

John: The theme of the dreaming last night has to do with having to hold onto some sort of overall inner balance, in relationship to being confronted with things that are overwhelming, in terms of the use of energy, in the outer.

What you did was start with a general, overall vibration in terms of how you felt things. Then you took and added to that. There’s a certain overallness to an energy from within, which you hold inside. You’re in a physical body and you’re able to direct that energy in particular ways, and when you do direct it in some specific way you can, when coming from the center, have a lot of energy . And you can do it in a free way – providing you hold onto the understanding that it comes from.

The energy you’re working with is an energy that’s at the essence of your being, or is from the inner, so when you’re having this dream, in terms of you taking and now applying this energy in some specific outer way, what you’re doing is weighing the degree to which this foray takes something away from how you feel yourself connected in an overall context.

And you find you’re able to do that because something about you has grown up (the children), or has gotten to the point where you can sustain the energy that you feel within, without losing it. Ordinarily when you take energy and cycle it and funnel it into some outer capacity, it faces a lot of resistance from you, in the form of personal or psychological indulgences. So the degree to which you personally indulge, is the degree to which you do harm to yourself in terms of maintaining this inner space.

You have this dream in which you’re trying to see if you truly are free, if you truly have let go. In other words, can you deal with a huge challenge, from an outer context point-of-view, that you’ve decided to take on, to see if you can effect a change in it or break something free?

And, can you do this without contaminating yourself, or without contaminating the inner space? A part of you is saying yes you can, because something has grown up. However, you’re not sure, so what’s facing you is presented as a dream, with the potential to be caught, or not break free.

So what you’re doing when you have a dream like this is you’re weighing the forces inside you that are personal versus impersonal, or that are totally free or in a nothingness or an emptiness, versus still having some sort of involvement in an outer capacity, reflective way.

In doing this you’re recognizing the degree to which that kind of lack of independence, in terms of letting go, will actually distort or hurt you.

An example of what that’s like is when the American Idol judge Steven Tyler commented to one of the participants that her biggest challenge was in accepting herself. He felt that this comes with time and that eventually she would get to the point where she could just think, “I don’t give a shit.”

Using that language, and many other mannerisms, is Steven Tyler’s way of showing that he’s beyond what other people think; he’s not limited by what other people project on him, or how they try to define him. So he stays true to his core. He said to the participant that she may not have that quality and freedom now, but she’ll get that. Eventually it will come to her.

That’s kind of how this dream is. You have this huge energetic opening up – can you process it in a way that doesn’t compromise it, or inject some limiting personal, self-image problem, in relation to what you’re experiencing inside and what you’re dealing with on the outside?

The dream is a testing ground, presenting a situation to see if you can take and truly bring inner into outer. Because if you just take the bait of whatever life throws at you, feeling that you have to confront it and deal with it in some separate capacity, then you really haven’t found, using the words of Steven Tyler, the spiritual version of that “I-don’t-give-a-shit” mannerism inside you. That place that’s totally free, empty, and in a nothingness.

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