Posts Tagged ‘car in a dream’

ggy676sIf we expand our way of thinking about a full breath, breathing in and breathing out, we can see that it has many facets to it. When we are born, we are expressed outwardly into the material world, and when we pass on we are inhaled back into the worlds of energy. Everywhere we look we can see this process. The universe expands and then contracts. When we create an art work, we have put it outside of ourselves, where we can learn something about it, and then we incorporate that knowledge back into our life going forward. We can look at this personally, or at the level of the universal for greater understanding. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I only remember a scene in one dream, and it felt like it was repeating a lot. I think we were going to visit Allie’s relatives, or we were going somewhere, but it’s like I was walking alongside and you were in a blocky green car, almost like a square car, like the old Model Ts or something. But it was this dark green color.

There was something in front of it, so it was like the pace was just slow. It’s like, I didn’t know what to do to get it to go faster, because it’s like we couldn’t control the speed at all. And so then I was concerned about when we got there, and when we’d get back. But I recognize that because of what was in front of the car, I couldn’t do anything about the speed. It just seemed like that dream reverbed a lot.

John: In this dream, Allie represented a hiddenness, and the green car represented a journey into the inner worlds. And the bias is that it has to do with speed, rather than depth. That’s the bias.

It’s easy for one to get because the sense is that you have light, and sound, and light is faster. And so you can come to experience this in terms of time as an aspect of speed. And that, then, can lead to going back and forth, and back and forth, and back and forth to figure it out, because you’re looking at something that is outside of time. And yet you’re working in trying to understand it, as your ticket into it, with time.

And that you’re only dealing with one component of it. And your component that you’re working in terms of, this element that involves time, is missing space, as well, outside of time and space. So when you’re playing with time, you’re playing with the in-breath, and you’re playing with space, taking something into matter and whatnot, you’re playing with bringing something from space through, you’re doing that with the out-breath.

And you’re reverbing back and forth, and back and forth, and back and forth because you’ve never had the experience of recognizing that the breath works this way. A person usually only catches up with the breath from the standpoint that you can have the masculine breath, and the feminine in-breath, and that the breath takes something out of a stillness down. And there can be an exasperation, which is the interval, again, where this in-breath turns to the out-breath. And then you start the revealing of the in-breath going back.

Usually a person only catches up with it up to that degree, and when they catch up with it to that degree, you come to recognize the entire breath as a state of delusionality, as an illusion. As almost a bad trick: that we all breathe, and yet, when you take that breath out there is the stillness – and that is much more real.

But, no, there is a purpose of the breath. And no one understands the purpose of the breath. The breath is important in terms of time and space. Now, they both are put in conjunction with the breath. Actually, I think I might have it reverse: time might be something that comes down into and consecrates itself into life, that brings something in, that’s time. And space is where something, then, goes to the in-breath up.

So, if you’re sitting there trying to figure out how to speed something up, you’re only looking at one component. What I’m trying to understand is that which is meant to be speeded up, that is an aspect of time, whereabout is this in relationship to the breath?

Well, you’ve taken and introduced the breath in a component way. You’ve introduced the breath as an aspect in which this is a step to another use of the breath. The use of the breath, this is a step in between, now, what you just did, you have to come to understand the time and space of breath. And this is important to understand breath in a way that no one understands breath anymore, and that is: breath is the means that makes man a crown of more than just creation, the universe. Because it is through the normal in-breath that is where a person has awoken to things and develops maybe the magic side of their nature, and gets into occultish kinds of qualities and things. Dwells with the angelic side, and tends to leave it at that.

But the true importance of the breath is it’s a traveling into a revealing; it’s an aspect of a revealing. It is in the in-breath that this revealing occurs. And what is being revealed?

Within the depths of a human being is all the wonders of the world. And that’s on the in-breath. The in-breath has it embedded, it’s all embedded. It’s almost like frozen time. Time comes down as the out-breath; it’s frozen time, which means it’s caught in a spaciality that has to rise up on the in-breath. And so, when it rises up and comes out and one can go into it and probe the mysteries of the in-breath, then you come to know things that you didn’t know before. Everything is able to be revealed through the in-breath.

But it remains hidden, it remains unconscious, unless it is brought into time, unless it’s brought through, which is the purpose of the out-breath. That’s the reason for the breath. The way one conducts himself in life, where they’re caught in little subtle ways that are bifurcations, and you get into the masculine and the feminine, and you get into the whole kundalini energy of things and such – that can actually be skipped. If you really come to know what the reason for breathing is, that it is important.

And the way we are doing it, and dealing with it, we are lost. We’re off on a tangent in terms of it. We’re not even getting the bat out of the batter’s box to get into the game, because we’re caught somewhere on some aspect of the breath, and thus are bewildered and delusional. We can be caught in our over sensitivity on the in-breath, we can be caught in our overindulgence on the out-breath, with the thoughts piled upon the thoughts.

And so we never fully catch up with the fact that the breath is the means, and the ticket, for revealing all of the wonders of the universe. No one knows that. They don’t know that because they’re caught in this other instead. How can they possibly take on what they’re meant to take on?

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: A Reason to Breathe

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09eewIn our dreams, we are always trying to find a balance between the masculine and feminine natures that we all have inside of us. The outplay of this dream shows three generations of female – child, young adult, and older woman – trying to bring the masculine into a “healthy” relationship.  As we are all the characters in our dreams, this is an inner struggle that needs to be resolved, yet the female dreamer understands that the feminine aspects cannot become like the masculine aspects to appease them, or make them feel comfortable. The relationship needs to be built with respect to the inherent nature of each characteristic for it to be a healthy one. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I just pulled out my last dream. In my last dream it’s like I’m maybe young, just around teenager somewhere. I’m living in a house with a young girl, a little girl, and an older woman, and then there’s a man that comes in, periodically.

And he seems to be trying to do something for all of us to help raise the little girl, but he doesn’t always know how to interact with her, yet, and he’s getting older. I can tell there’s something kind of off, or wrong, about him right now, so I want to do something for him, or we all do.

So we look around, and he does have kind of a strange vehicle that’s parked in one room of the house. I don’t even know how to describe it. So I realize it might help him if we could take him out for a ride in this, but we could never drive that. And then I feel like anything we could drive we couldn’t drive fast enough, anyway.

I wouldn’t know how to drive a motorcycle, which might perk him up. So I’m racking my brain trying to figure out what I can do, you know what kind of a ride I can take him on that will kind of perk up his energy. And I’m going over in my mind things like horse and buggy ride, a Ferris wheel ride, I think. Maybe a ride in a convertible is what I finally come up with. I’m just racking my brain trying to come up with something because we don’t know how to drive his vehicle and we wouldn’t drive that fast enough, anyway. And that’s when I wake up, as I’m just trying to figure this out.

John: So what you’re talking about is the feminine nature to be able to take something that is in a masculine outer context, that is overly spacious in its nature, and bring it into a cohesion so that it can see itself, and so that everything can come to a cohesion.

What you know is that you don’t try to keep up with that, because if you try to keep up with that. And so that might even be a big aspect of a correction here, is the idea that you have to try to keep up with that. No, it’s not your role to try to keep up with that. It’s your role to try to cause something to occur, so that the effect of what is overly spacious, and zooming out, is able to find a cohesion based upon the way you hold a presence about things, based upon the way you allow something to be able to be felt, or experienced, which means you have to pull it back to some degree.

But you cannot pull it back in a way that restricts that. You have to pull it back in a way that comports with that, without trying to race out that way yourself, because you’re not allowed to race out that way because that is not what is meant to be, in terms of who you are. And so you are seeing that, in terms of who you are, you are connected to a sight on this particular level in terms of a higher self part, the grandmother part or whatever, and your regular, natural nature. You have proper cohesion training, or understanding, in this motif to be able to take and make a difference in this kind of atmosphere.

That’s very interesting. Which is the same thing as saying that you are bothered by, for example, a certain aspect of something in the outer, and it probably relates to me, and it has to do with how something is out of twang, in some regard or another. And that you’re not going to do yourself any favors by trying to catch up with that which is out of twang, or going in some pace that it’s going in. Instead you have to hold a quality of a presence of nature and being that enables it to be able to let go of maybe the way that it is driving itself. You don’t try to drive that way yourself. You, instead, hold onto a cohesion, and in that holding onto that cohesion you are actually giving something to that aspect of unfoldment.

And what you’re evaluating to do is to figure out what it is that you have to give to it? Is it a convertible approach, or is it this, or is that? In other words, you’re still working within the context of the car, meaning something that drives itself in a pace, and at a point, that you’re not going to be trying to catch up, or keep up, with.

Now that’s interesting that this is pointed out to you to have to recognize that you need to be like that because, from my perspective, I keep trying to get you to speed up. And that is not right. I act as if that you are missing something if you don’t learn to go catatonic, and then let go of the catatonic. That’s me, in my dementia, trying to turn your world into a dementia or something.

You know the approach that upholds a state that is conducive to a greater beingness, and you function in a way that tries to hold that together, and not try to keep up with that. And this is an interesting inner lesson of a quality of depth of a feminine beingness, because you often see, in terms of feminine nature, you often see the opposite occurring where they attempt to race out. They attempt to join that kind of world in some capacity. You know, women take and are all concerned about this, and all concerned about that, all as an idea that it has to do with imagery or something. And so she is not able to let go and actually settle back into herself.

But at what price is that in terms of her catching up with a deeper depth of herself? Having to maintain an image, and a persona, that is in keeping with having to conduct, in this kind of environment a certain way of coming across – and you see a lot of that – and how you are is you’re being shown that the exact opposite, or contrast, is what is important.

There is a way of letting go having to go around like that because that is a debilitating state to have to sit in.

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

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vanishing-point_01Often, when someone, or something, is in need, we are at our best. We overcome the obstacles that are in the way because we understand what is at stake, and the importance of rising to the occasion. In the outer world, these situations can be easy to see. On an inner level we may only feel them very subtly but, as this dream image shows, the consequences can be just as dire. So our dreams can help us by showing us the importance of a connection. Here, a man drives a car across country to reach his family in need; what seeks to derail his journey is less important than reaching the goal. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: When I first woke up last night it was because I was coughing a lot, and it felt like rather than remember a dream I was just remembering a few minutes of a movie I’d watched before going to bed.

And the movie was about a man who was driving a classic car, a Dodge Charger, across the desert trying to get to his wife and daughter who were in the hospital. And he keeps having to evade policemen and others who chase him because they’re assuming if he’s going fast he must be… well, he’s either running into a speed trap, or he must be running drugs, he must be doing something else, you know, so everybody keeps getting after him from one state to another.

One person even chases him in a car that’s a black version of the white car that he’s driving, so it’s kind of a symbolic movie. And that movie just seemed to be on my mind a lot about the chase, plus my nephew has just gotten the same kind of a car, a Dodge Charger, which is kind of a muscle car, to restore, so I must have been associating it in some way.

And it just seemed to be this sensation of being in the desert because he was driving across Monument Valley and, you know, all the different colors like Monument Valley, you have a white car versus a black car, and the speed of it trying to chase. So, initially, it was like I was just trying to work with the cough and feeling sick, and then that movie was on my mind a lot. And then I had a dream.

John: So what you’re talking about, what you’re describing, what the energetic is, what you’re seeking to figure out, what you’re trying to close in on is a format, a methodology, a mannerism, a schematic upon which to proceed from A to B, between two points.

And so you’re still trying to sort that out in a way that comes across, so that it’s non-combative for one thing, meaning there is no chase or anything like that involved. 2) It’s not too fast for the situation, which means that you’re not creating a vacuum, or a desert kind of vibratoriness in which there’s nothing able to be denoted because your approach to yourself is out of twang with what is in the environment, is out of twine with connecting to what you need to connect to, that is in an environment.

In other words, the environment that you’re having to connect with is something that is needed, and there needs to be a relating in terms of that which is needed, which is in a hospital. And so what’s happening in terms of catching up with the, we’ll call it, hospitalized side of yourself is you have to find the right tone, space, mannerism, speed or however you want to say it.

Basically the overreaching schematic of the dream was that of, how do you come up with the means of communication that is able to make something, bring something clearly through, in a knowable way?

And so what you’re doing with this energetic of the dream is you’re looking at the characteristics, or mannerisms, in which your listening center is adhering through a process, or a flow, that needs to be aligned, that needs to be in sync more with bringing something from A to B. That’s what you’re doing is you’re playing with this A to B, and the way you’re playing with it yet is more of a kind of mystery.

In other words, the dream is there to cause something to sort, or streamline, in a way that facilitates a going from A to B. And to facilitate that, you have to contend with whatever there is that’s a discombobulation in bringing that clearly through. And so you’re working on sorting that out in your dream.

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

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