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Posts Tagged ‘in-breath and out-breath in spirituality’

We don’t always realize that our natural complex of systems are designed for our spiritual journey. For example, whenever we enter a new space, or a new place, our systems are making calculations and assessments of the frequencies, energetics, and safety of where we are. But that array of natural intelligence isn’t just used for getting us through a dark street or helping us find a new home, it is also at play on our inner lives where we are trying to find our way into the universal aspects of life. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: It’s interesting how the theme of the dreaming was last night in that it really is something that, instead of taking and starting on the out-breath, which has to do with where you’re inclined to see yourself, as if you have an energetic thought that’s behind how you are, and so instead of being able to see yourself as that now correlating to outer things, and, of course, it’s been a little while ago when I first noticed that there is this kind of shift that happens, that you can get to where you instead see yourself as something that’s blasted into a greater overallness. 

And you have to somehow or another come back from that greater overallness into something that functions outside of the maze of that, which is from an in-breath. In other words, you’re on an in-breath trying to make an orientation in a spaciousness. And it’s giving you glimpses of things because the in-breath does get to the angelic and is a traveling towards God, and is a constant weighing of what has a value orientation in terms of yourself. 

It has its way about it in terms of taking an assessment of things. Maybe it is a shift, so to speak, in a way, from what might have been a type of out-breath, in which you had gotten too linearly oriented. And then you suddenly have this in-breath that opens something more up but leaves you in a bit of a delirium, a bit fractured, and seemingly out of tilt a little bit because you don’t have a good grip of things. 

That’s what the greater overallness is like. When you can let go of more of the me, myself, and I and can actually start to see yourself as there being a greater equation of things. But it can be extremely peculiar if you’re still trying to do that in relationship to your usual persona of having to have an identification nailed down. 

So to find yourself having to let go of an identification and go into this greater spaciousness of breath, overallness, it may be a bewilderment. But from that bewilderment comes a type of sense of orientation; a very strange one. I mean, you misuse it, you abuse it, you try to steal from that orientation in order to make something compacted again that you can get away with. 

But what ends up happening is the degree to which you are actually trying to usurp it or steal from it is the degree to which you can see it not as a form of guidance now, when you bring it down from a compacted way, but instead seeing it as something that is attempting to limit, or impact, your ability to hold something that you define as important together. So it’s policing it, it’s like a policing of it instead of as a guidance. 

So this is more on how your dream is, and more also in terms of what the understanding is in relationship to what this is like in terms of a seeing of things that involves the traveling towards God, as still aspected on the breath now, mannerism, feature, however you want to call that to sorting yourself out of the delirium, You’re still in a delirium, you’re still in the illusion, but you’re groping around to look at it is kind of what it amounts to, with a type of looking that can have a guidance to it, or at least an attempted guidance.

Only when you get to a total letting go and stillness does everything kind of come together, but between that and now, in terms of how one is, you have this developing of what you think is a kind of insight, but you don’t get much ease-ability out of it because the greater scope-ability of yourself from a stillness, it being bifurcated in some way, creates a quality of a certain kind of plaguing that you have to hold onto or maintain about your nature. 

But in a way it’s good. It’s expansive. Or I should say it’s expansive and contractive, expansive and contractive. Only in this case you’re starting with the expansive instead of the contractive where you tend to get lost, and then get into a yearning for something more. Here you’re starting with a kind of an expansive, but you’re not capable of handling the expansive, so you come back to the contractive. 

And then the degree to which you can hear the expansive is more as something that bugs you a little bit, that polices you a little bit, rather than knowing that it actually goes all the way up to a stillness from which there can be true guidance. So that’s another way of describing your dream.

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The idea of bringing everything together, inside, faces the same problem as it might on the outside: what if it doesn’t fit, or if it doesn’t feel right? If we are a oneness, how could this be? Well, this is where the work of letting go of biases and defense mechanisms can be applied, because these additions cause friction to the process, and, to be in a flow requires that we be as frictionless as possible. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I did that thing again where I’m doing something that feels very spread spectrum. like it seems to be covering a lot of distance. And it’s some kind of work with energy. But I wake up and you’re not in the bed, and then I lose the dream. And then I have a later dream.

John: So, what that is it’s just denoting that you’re on the in-breath aspect of yourself, which is trying to come to grips with how to see yourself in a spaciousness. 

Usually, a person doesn’t use the in-breath, or note that the in-breath is like that, because it’s too expansive or something. And so, in order to make their world cope for them, they have to look at themselves, or see themselves, as something that comes down, that has an energetic, that compacts, has an orientation in other words, an unfoldment in the out-breath. 

But to be in the in-breath, when you don’t have things sorted out, and where you can’t quite pull a cognition together, that’s an unusual state. And it’s an unusual state that I’ve found leaves one sensationally; on a sensation function, kind of in a sensation delirium. It’s a sensation delirium because you can’t find your modality, or your place, or your scope, in terms of what it is that you’re meant to grasp, or own, in that spaciality. 

And so you’re constantly trying to, well, push to an extreme that causes some people to go a little insane. And it’s unpredictable. And it doesn’t accept; that aspect has a trait about it, where it just doesn’t accept hardly anything that is presented to it. 

Because in this spaciality, the positive side of it, is that it always has a sense that something isn’t quite right because where it deludes itself is when it gets into a compactness where it could take and think that it is accentuating something important. But when it’s trying to scope out a greater spaciality, it has a dilemma. And so that’s a very odd sensation to have to be in. But it’s part of the in-breath.

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In understanding that everything is interconnected, we can look at the cycle of the breath, in-breath and out-breath, and see how it is mirrored in so many of life’s processes, and even can be applied to the unfolding scenarios in our dreams. Here we have an excellent example that shows what can be learned by realizing where we are, in terms of the in/out, or up/down, cycling of the breathing of life. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So, in the middle dream, which seems like a sequence to the first, it’s like I’m in what feels almost like a southern town because of how people relate, but the town seems to consist of what feels almost like antique shops or stores that link to each other, because they have a lot of things in them. 

And I’m kind of wandering through maybe following a few of the local women trying to figure out how these stores link up, and what’s contained in them, and where the food is. And I might get distracted for a minute by something that’s in there that’s old or interesting, but I keep moving on. 

And they just have that complexity that antique-type stores have. And the people seem to be interweaving their lives in these buildings. And so I look at where they have the food in several separate places, in two different stores that are linked together. 

And then it feels like I follow this woman out onto the street and up to the hills. At that point, I feel more like a man. We go up to the hills and there’s a kind of complex set of caves, and I follow her into these caves. You almost feel like some of them seal behind you and you’re not sure how it is you’ll get out. 

But we go in and we sit down on one, and, it’s like, if I have my arm around her I’m looking for a kiss. But then I realize at some point that she’s going to use that kind of yearning for a kiss or something to both keep a distance and maybe even leave me there in the caves for whatever she wants me to do in the caves. So I’m having the thought that I don’t think I want to go along with this scheme, I think I’m going to leave the cave, I think that was when I woke up.

John: It’s good to be able to have that kind of perception that knows how to recognize when something is going wrong, that you’re not meant to do anything with, or try to do anything with, because it is sitting in a modality, or frame of reference, that is adamant in that frame of reference that it’s in. 

And so if you put any attention to that frame of reference, you could get sick, or you could be hurt. Sicknesses come in multiple ways, it can be an energetic sickness, where something hits you energetically. But the sickness that can be an energetic sickness can actually afflict an aspect of the body because the breath and the thought of something coming through, is coming through into matter. 

So you’re playing with the two directions like you’re going to the south, which is down into life, which is the out-breath. So you’re going into manifestation, into the town, where the people are at. And you’re looking at how things are in terms of the myriad of things that exists that way. And then, of course, because you have the out-breath, you also have the in-breath. 

And so with the in-breath now you’re going back up into the mountains. It’s the feminine, the breath on the in-breath is the feminine breath. The breath on the out-breath is a masculine breath. So when you come down into life, you come down and you look at things, and you contend with things, in more of an animalistic way, which is more masculine, which is a thought energy that is more masculine coming down as an out-breath. 

On the in-breath, you’re going back more to the angelic, you’re going back more as the in-breath is the feminine path. The out-breath is the masculine breath, in terms of the general overall schematic. So when you went back as an in-breath, you went back witnessing, so the masculine quality that came down went back witnessing the feminine side, or the side that is more angelic, the side that is more spacious. You went back recognizing that. 

So you’re flipping the practice around, just like, for example, when the practice was done where you put your attention on the out-breath, and then there was no rising back up, as if the rising had already occurred, and then you come down. You are doing it the opposite. You come down, which is like the “al” and then “lah” back up on the in-breath. 

So you’re doing it in the Naqshband way. Done in the Chisti way of “al” on the in-breath, and “lah” coming back down is where you contend with setting in motion stuff that you, if you’re not very mature, or if you are holding on to something, is apt to happen. You supposed to be able to do that: come down and touch life, in the outer, and be in this other place simultaneously. 

So what you’re doing is you’re looking at this quality, only you’re looking at it kind of as a coming down in a Naqsband way, where you come down and then you follow something back up, you take something back up.

Whether you say that that’s Nasqhband, or Chisti, or whatever, both work with the breath. But you started with the out-breath, and came to the in-breath; the Naqshband’s way. The Chisti’s start with the in-breath going home, and then can’t stay there in the place that they go to because it’s too limited, or isolated, or something. And they come back down. 

It’s interesting, you’re working with the dynamic. And the way that fits with the prior dream is, within that dynamic you develop an ability to function in the two worlds, and you develop a certain way, and a clarity, and a depth for doing so. And you recognize that the witnessing way – without having to say anything – is the best. And the second best is the ability to speak with a certain clarity, or brevity. And that is often identified and expressed through a certain power of the breath that carries the focus and connection in a strong enough, connected way, so that it inflects. Still, that’s not bad.

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