Posts Tagged ‘making a shift in a dream’

All humans are capable of creating, of taking one thing or a number of things and reconfiguring them, or inventing something totally new. We understand how that works with physical elements, but it is also true in the energetic aspects of life. We can elevate energy, which has the effect of changing it. An example would be to bring kindness and compassion into a terrible situation. And this process is a great service to the universe and something we are uniquely qualified to do. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So my dreams last night seemed to be influenced by the movie that we’d watched, Empire, which includes about the music industry and how intense the music is there, and how intense everything else is. 

It felt like I had been to a party where I had been listening to music and observing that whole intense scene. And then, as I leave the party, somebody comes by who feels like maybe he was my probation officer, so, initially, I’m almost trying to avoid him. 

But then I follow him and I go to his apartment, but it’s almost like we have to go up the side of the building. And then I look over the edge of a building, and down, and then there’s a doorway that you kind of crawl down to, and someone from inside the apartment opens up that door, and you kind of swing in. 

It was a woman. And then when I spend some time in that little apartment, there were plants, a cactus, different kinds of plants all around the apartment near the windows. And before I leave what I want is a cutting, but I don’t take the cutting from the original plant, the woman there actually has the original plant, but from a plant that came from the original plant, I take a cutting that I want to take home. 

And then, as I go on in the dream, it feels like I’m continuing to observe the sound, and the effect of the sound, and what the sound does, working with that kind of music and that sound. I remember there’s one scene where I seem to be with our friend, and that there were three things in front of us that produce sound, they look like they were brass or something. And, as it vibrates and stuff sometimes it shifts to where it produces water instead of sound. 

And it’s like I’m telling him that rather than staying in a sound business, or music business, that he should be getting into water, or even coffee, but I think it’s water, I feel like he should be getting into selling waters, that that would be better for him.

And it feels like that’s what more a part of the dream was at some point, too, is that when you took that vibration, what did it turn into? And there were other things that it turned into, than just the music, that seemed like were better. 

John: So what you were doing is you were kind of showing that sound could be used to produce something other than what he was used to producing. And what you were also doing is you were finding that, going within, you could find other plants that you could take a cutting of, that was different than what currently existed. 

The theme of the dreaming is about a type of shifting that’s necessary, for now, that is required to be made, or needs to be made, in order to break free of some paradigm that has existed for a long, long, long time. And maybe thousands of years this paradigm has existed. And so this dream has you sitting in a scenario in which you are taking the scenario, reaching within, or finding within the scenario something different, like a cutting from a plant. And you’re getting more specific, too, in that you’re pointing out that you’re working with sound. 

In other words, the whole thing triggers as an aspect of sound, which means that it triggers as an aspect of how manifestation is. And you’re finding that you’re to work with it differently than is customarily done. In other words, there’s the established way and you’re discovering that something about that can result in a different kind of flow, or unfoldment. 

The theme of the dreaming was about shifting, the theme of the dreaming was about actually transcending into something different. The effect of the movie was to create this kind of violent recognition. It’s like a violent recognition where you take and you shake off the shackles of kind of a pattern or mannerism that had predominated in order to experience, to go into, something so much more. 

And the shackles of the mannerism of what had existed, your dream doesn’t portray any aspect of time other than it shows that you somehow go in to a different modality, and in that modality you come back with the cutting, or something different, as if able to bring something from one side across to the other, this cutting. 

And it seems to repeat again by pointing out that it all started with an understanding of a quality of having to break in a new kind of sound mannerism, which is like taking the premise of an understanding that the world’s created out of sound – and finding a different octave of the sound, or a different way that the sound could be. And to find a different way in which the sound can be is the same thing as shifting your consciousness to something different, or more, or opening up in a whole other way that it hasn’t opened up before.

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8652Do we consider ourselves guests, here, on planet Earth? Or do we consider ourselves guests, here, in the universe? Because the nature of a guest is to enjoy the visit as much as possible, but to not take any real responsibility for the maintenance, upkeep, or ongoing improvement of the environment they find themselves in. And, pretty much, our species thus far has adopted the attitude of a guest. But we are not guests here, we are the only ones that are capable of the refinement and improvement of everything we interact with: meaning refinement and improvement on an energetic level, not just the idea to add a new coat of paint. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So, first of all, I describe what is going on. In my meditation dream there were brief, inflective moments of stillness from which I had a sense of incredible insightfulness. Because I am unable to hold on to the stillness, an obsessive back-and-forth quality that seeks to reach a resolution and does it kind of as you are in the environment that you’re in, predominated over my demeanor.

This loud dynamic was a try-as-I-might means to try to reach a stillness within. And thus, it was a dynamic that kept me probing about. I’m probing about by bringing in the masculine element of trying to figure out how to break the projection, the loudness of the projection, so that the other side can be seen.

So I present that as a challenge. What is going on is I am being affected by an energetic focus and attention that is seeking an outer resolution. This is a prevailing state which has a lot of inertia behind it. This is affecting the stillness I seek as a relief from reflective upheaval.

So, because I am empathic, in other words, this is almost like a condition that gets you in trouble when you’re empathic because you can sense this sort of stuff, I am impacted by this outer, raw energy loudness in the ethers. To me, this is a kind of food, in other words, when something is haywire, that haywireness can throw you around. But you come to recognize, instead of blocking it out and whatnot, that you are able to process that and bring it into a kind of better cohesion – which is the challenge, to still it – and thereby cause the reflective to see within; the outer reflective to glance within. That’s what it’s really seeking, but it’s doing it all in the noodling in the outer.

So the quickening I am taking in and having to contend with in the outer is intriguing as a challenge, but demeaning as an attitude. If you look at it as the attitude, then it’s demeaning, it pulls you down, it’s stifling. So, this is the barrier that I am not able to put to rest; in other words, I’m spinning around on it. The usual approach is an approach in which a person sees something, a haywire mannerism, and you just kind of turn your back on it, you just kind of ignore it. In this particular case, one’s not really turning their back on it because it seems there is more involved here. It’s reached a kind of crescendo, you can’t just ignore it. It has its parallels; it’s all paralleled and connected in a way.

So, consequently, I keep perpetuating variables and each variable has the illusion of getting close, but is instead a deviation and unending movement from an at-easement that I seek. This is in the etheric atmosphere and I’m choosing to bring this to a stillness.

The alternative is to block off that transmission, but I know if I do that, I seal away a deeper meaningfulness seeking to come through. The need for a peacefulness, an acceptance, and a stillness opens the window to catalytic change. That’s why you do this: opens the window to catalytic change.

So now I talk about what’s called the loudness. There is a flip side in terms of outer Kundalini raw energy, in that it needs to absolve to the quieter stillness corresponding within. That isn’t possible when an outer reflective loudness presides unremittingly.

So what I found interesting is a deep inner heartfulness for the world, and the surrounding environment, that is camouflaged by the outer nuances that predominate with an outer responsibility. And this has me thinking, when you feel it like this, I’m in a predicament.

To drop that conceptualization is to effectuate a natural shift that corresponds to an abiding sense of completeness. Probing an abiding sense of completeness is a stage; that’s a stage towards the all-pervasive stillness that is yet too much to bear for the collective conditioning that resonates in the atmosphere. I’m fortunate that I do not give up hope, and step aside, because, if I do, outer woundology nuances will predominate and that will make living here miserable. You can’t be doing that.

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bizarre-0This dream would be considered bizarre by anyone’s standard, with dead animals and dead family members, some sort of autopsy process going on, and even having to remind people that they’re dead. Yet, as John points out, it’s a positive dream and it’s a sign of progress on the path. When things die or are dead, it can often be symbolic of making a shift, or moving on – a sign of letting go of some aspect that’s no longer needed in life. And letting go completely requires not letting the dead wake back up! (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In my dream, I’m a medical student and I’m at a lab with my professor, who’s a doctor, who’s teaching me and then a friend of mine, a female friend, who also must be studying, and it’s the end of the day at the lab.

And we’re getting to the point where we’re learning how to deal with people who’ve died and what we do with the bodies. And I seem to have had a dog that’s just died, and maybe my great aunt, too.

The professor is making appointment times with me over the weekend to help me deal with the bodies of the dog, and I think it’s either my mother or my aunt. We make a series of appointments for different times and some of them are actually at night, like 10:00pm at night, and some are maybe at 7:00am in the morning, to meet with the doctor and he’s going to show me what do to, and how to prepare the bodies.

Well, it’s almost like one doesn’t think of funerals. It is almost like there is this…

John: Like you’re still working on it.

Jeane: Yeah, still working on it. Almost like they did in Egypt rather than how they do now. Let’s put it that way.

John: This actually makes sense. Go ahead.

Jeane: Okay. So I leave and I go home because I realize I’m late, and probably dinner has been run late, and at that second it feels like my parents are alive. My dad and my mom are at home, and I feel like my great aunt who’s there has died though, but mostly I realize my dog has died, one or two dogs.

So on my way home I realize I’ve forgotten the order of all of the appointments because we made about four of them all at once. There are some we do at midnight. It’s like back at the lab, so I’m confused. 

I’m thinking I have to call my friend, maybe she’ll get the time right, but I get home and I realize dinner’s been held for me. Maybe they’re a little disappointed that I came home so late, but I realize this is how it’s going to be when I’m in medical school. I’m going to be late a lot. 

But then there’s like a shift and I realize that both my mother and my aunt have died, and the bodies are there right now, plus there’s a dog that’s died, and I’m wondering is the professor supposed to meet me, am I supposed to meet him tonight to start the steps? 

It feels like I actually start the steps at home. I have a scalpel and I have something that I do that I’m supposed to set the bodies down and I slash near their eyes, right behind their eyes. And then it feels like because I’m confused about what I’m supposed to do first, but I’m lucky because the professor comes by my house, and I realize he’ll show me what I’m supposed to do tonight.

But then the bodies sometimes act like they want to wake up, but we’ve already started cutting on them and there’s something like with my aunt particularly, you open up the chest and there are these little strings that come out that you’re carefully separating and pulling aside. 

It doesn’t seem to be bloody at all. It just is a process and you do it over a four-day period. It’s almost more like Egyptian embalming or something. It’s kind of odd. And so I’m getting straight what do we do right now, plus we’re going to go back to the lab tonight and he’ll be showing me how to do something either with them or with the dog, and then we’ll do this over the whole weekend and he’ll help me learn it. 

Anyway, that’s when I wake up. Besides the fact I have to remind the bodies now and then that they’re dead.

John: This is a significant dream, obviously, because it’s as bizarre as it is, and when they’re bizarre like that it’s trying to make some very unusual points and this is kind of how it does it.

The dog is, of course, your friend. Your mother is your connection to something that you normally would have in life. Your aunt is kind of like a heritage or recognition that may even seem to go along with conditions of things as you’re supposed to catch up with them, in other words part of your heritage, and that you’ve moved on from all of that.

Jeane: The only other thing I should say is, as I’m doing this it’s like there’s also an observer that comes in, and there’s a book that I take out and I’m looking at, and the book is almost like old Egyptian. The book has writing in it, and maybe even some prayers that you say, and some steps you go through, and pictures drawn of what to do, and I’m looking at that, too.

John: The thing about it is, is when you’re shifted like you’re shifted, it’s almost as if no one told you this is going to happen, or is giving the memo that you now have to be shifted in some dramatic way.

So that everything that has to do with the previous world, or the previous levels that you’re at, in which you had your various connective relationships with your friends, your dog or dogs, and your connection to what you carried as complexes in terms of how you needed to conduct or express yourself in creation, that comes as a principle of your mother, and then through all of that is a heritage, which is your aunt.

All of that which holds that other level together has shifted, and there’s still kind of a little cognition to the quality of an aliveness there. In other words, it’s like a little surreal. It still kind of is, but really it has shifted, and that you need to extract the clarity out of that situation and not try to hold onto it. That’s why you’re starting with your scalpel on the eyes.

The eyes in terms of a certain sight that was stuck and held in this other particular level, and when you go to the chest I suppose you’re going into the heart, huh? You’re following the thread of things somehow.

But what you’re actually doing is actually a step forward. It’s a natural process. It’s part of the path. It’s shifting from one state or level into another level, and thus there’s going to be the disorientation.

It’s interesting that the setting goes from a medical, which almost has to do with an identification because you were a medical professional and all of that, it goes from that as the original setting where something just all dies in terms of a demeanor or mannerism that’s associated with how you feel yourself in some sense that still carries that as the best reflective prior image.

Back to a house and that, initially, in your psyche, or in your synapse mannerisms, to begin with there’s still a little of the past that’s still able to be there because you’re not sure what is really dead and what isn’t really dead when you come back to the house.

It’s almost like it’s still getting sorted out. Something has really radically changed, but just how inclusive is it? And then you come to find out that the parts that you don’t want to let go, like maybe something that might have had to do with your mother, maybe you could have let your aunt go, but now she too is gone when initially she was okay.

So it’s a tremendous dream on you having to somehow or another accept a demeanor and mannerism or frame of reference in terms of how you carry yourself, or perceive yourself, in relationship to the worlds that you’re currently in. That you’re doing this in a whole new way, from a whole other level, that you’re not reverting back to old characteristics, that somehow or another you’re shifted. 

I guess this is how you get the memo. You get it in this bizarre dream that kind of has an image of the past, and then the image of what is now, and it seems pretty inclusive in the fact that it did a pretty good job of wiping out and making that shift.

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

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