Perception at Play

What if we were to categorize energies the way we do drugs? We might say a particular relationship or type of experience is like ecstasy. And another set of people or experiences were more of a downer. Or, I’m not at my best when I take that medicine/act that way. But with any drug or medication, we understand that it will eventually wear off and we’ll be back to our everyday status quo. The point here is that all our emotional upheavals are just like this – but knowing that they will be naturally processed out of us can add to the speed, and efficiency, of the process itself. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I only had a few images from dreams I had. I remember, in one image, going into my dad’s department store at night, and looking around and seeing people milling around in there and thinking that people had just come in, and were like shopping, but that nobody was running the store. 

And then I finally spot some women that do appear to be manning the counters – so that makes me feel a little better. And I even find some people in the store I know, that I talk to, that are shopping. And that was one scene.

And then another scene, I remember, is I was observing this house, and in this house, which was fairly elaborate, there was a woman guest that had come to stay, a young woman. And she had a very nice bedroom. But there was almost like a saloon door that went into the wall of her bedroom, and up a half a flight. And that was where the teenage son of the household was staying. And I think I did something which locked the doors between the room, but since it’s like a saloon door, you couldn’t lock it all the way. 

As I travel somewhere else in the house, I talk to a daughter in the family and explain to her that that particular room arrangement is kind of a recipe for disaster with this kind of wild woman next door, and this confused teenage boy – with not a good door between the two rooms. And then I know I just kept having more elaborate dreams like that, but I didn’t remember the details.

John: So what you’re doing is, you’re caught in the reverb of projection. If you could just let go of the projection, and let it all be absorbed, it would cause something different to occur. 

Your dream just reports where you’re at in relationship to how it is that you’re able to take something in. For example, as it starts off with you being in your dad’s department store, and it’s night, and that there are things going on in this depth of the department store which has an unfathomable quality to it, in order for you to handle this, you have to make those things that are there recognizable in some fashion. And that then makes it palpable for your consciousness that needs to have identification – that makes it palpable. 

In the other dream in which there is this wild-woman quality that has a connection to something so much more, that it is like a son. But the son is also in a kind of identifiable haywire mode, but the two seem to be even cut off from each other, so there’s no way of sorting that out. That, too, is an image in which there is a perception that is in play, and in place. And such perceptions always carry a delirium, because those are perceptions that have to do with a projective imagery. 

So you’re having to take this sort of thing into account, as exaggerated almost kind of nightmarish images, as a continuation from a pattern that was first introduced the night before. And, in this pattern, there was a dilemma in figuring out how to work with intensity. Intensity in terms of a spaciality.

You’re having to understand how to scope with the spaciality. And you can’t scope with the spaciality because everything has to have a Kundalini vibratory loudness to it as part of how you seek to perceive things around you. In other words, this is the news that you find important yet, in terms of your way of functioning in a projective, projected, modality. You’re not able to let it all go, which means that you have to somehow hold on to an aspect for visibility purposes. 

And this sort of doingness keeps you from just scoping into the depth of something that absorbs it all. You don’t have a proper access. You have to take all this deranged action, the woman in her way creates the son that you don’t even have proper access to, it’s on the other side of a door, causes it to have its deranged mode. 

But if you can let go of all of that, it’ll just go and go and go and go, it’ll all just absorb and get sucked right up as if it was never really real. Not really there. But you aren’t letting go of it, so you’re sitting caught in the scoped-out projection, the telescoped projection of it all, in kind of a outer sense. And even your access to something that’s a little on the inner is still contaminated with a kind of outer demeanor. 

This is a nightmare thing. This is the kind of way of dreaming of someone who does hallucinogenics or something that intoxicates them to the point where there is a deliriousness instead of a letting-go quality that goes into a stillness and a oneness.

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Being and Nothing

wiper-mud-testAs far as our dreams are concerned, life can seem like a party: the mingling of people, the noise, the busyness of the world we find ourselves in. And, of course, what is being handed-out to us at this party? What do we have to settle for, even though we know that what they’re giving us is no good for us? This contradiction in us, of wanting to be in life, yet unable to connect to something real at the party we find ourselves at, is one of the greatest causes of stress in the world. That’s why a strategy of higher connections can help alleviate the feeling that this is a nightmare we need to awaken from. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I feel like I had a nightmare that was disturbing to me. If I recall correctly, it kind of starts out that I’m at something like a party. There’s people there that I know from high school, and one of the focuses of the party is that when they get ready to feed people there’s going to be meat available. But the meat so far is just being carried around in these… oh, it’s almost like these plastic trays that you see at the supermarket, except they don’t even have Saran Wrap on the top of them to hold the meat in.

And different people have some packets of meat that they’ll be passing out later. I’m looking at this arrangement and it disturbs me because it doesn’t seem like the right way to handle meat or, you know, get it distributed or, you know, just to carry it around raw and in packets that aren’t really wrapped correctly, or aren’t wrapped period.

Then I leave the party, and I’m in my car, and when I go down the road I suddenly stop outside this building that’s almost abandoned – but there’s one or two people sitting around it – and I have a feeling that it’s a place where something violent happened in the past, like it’s haunted.

Then I notice that my car windows are all covered with mud, and I can’t see out, and I’m in the backseat, not the front seat. So the first thing I do is I crawl up to the front seat, and I can kind of feel like people that I feel are menacing approaching the car. I can’t see anything, though, so I just step on the gas – even though I can’t see where I’m going yet. And then that seems to knock the mud off the windows.

And then I turn around and I head back into town and, when I get into town, I go back into the building where I had been before. And now it feels like people are getting ready to hand out some of these packets of meat, but because it’s not wrapped, the meat just even falls out, or falls on the floor.

And I’m still kind of appalled that this is the way they’re going to distribute things, and it felt like a nightmare to me.

John: Well, in the dream, you’re trying to be in life, and do it in such a way so that you’re not affected by the conditions in the outer. And, in terms of trying to figure out how to deal with everything that there is, in terms of the myriad of things going around, in your particular case you’re in life, which means you’re at the party, and that at the party the food that is served, that which you have to contend with and you have to work through, that is an aspect of consciousness, in other words, how do you contend with the beingness without getting the myriad of things, without getting distracted, or distorted?

And you carry a certain sensibility of how it can, and should, be from something that’s percolating at a depth of your nature, at I guess one would say, a stillness of your nature, or I guess you would even call it a greater stillness of your nature, might be a better way of saying it, because the way you see it done in the outer, the way that you’re having to contend with it in the outer, the possibilities in terms of taking it in, that are available to you, none of them are acceptable in terms of some deep inner sensibility that you haven’t put your finger on, that you have.

In other words, the meat can be served in some overall container, but it’s still raw. In other words, it still has its effect. In other words, it’s not cooked, or it’s served in packets in which it’s all over the place, and irregular, in that regard.

So in an attempt to sort this out you try to leave the place to try to find the letting go and, in leaving the place, it’s almost as if you are carrying some mood, or mannerism, with you, in terms of leaving the place, because when you get in the car and try to go somewhere, you’re holding back in some capacity because you’re not in the front, and you can’t see. You still can’t see, because the mood, or whatever it is, still has its hold on you.

So you attempt to let go by throwing all caution to the wind, so to speak. It’s not a proper letting go, however. It’s like you just do an exasperation pedal-to-the-metal kind of thing, that may seem to throw something off your shoulders, may seem to have the pretension of alleviating your condition.

However, you haven’t really done this consciously. You’re not really able to be in the nothingness and the beingness simultaneously, that is assuming that you hit the nothingness in some fashion, or deceived yourself, because when you come back you’re just as reprehensibly disturbed by the way things are in the beingness as you were before.

So your dream is playing with the theme of beingness and nothingness. In your dream it’s like you do have the sense of something that has to be different, or has to be more. It’s just that there’s no evidence that you’re able to bring the two together. And thus it’s like a nightmare.

And there’s no evidence that you’re actually able to access the nothingness, even though you try because it’s as if there was something you were still carrying when you left the party and got in the car – that you never dropped – because when you came back you were right back into the same condition. You hadn’t expanded your auric space so that this, too, fell away. Instead, what was going on, the beingness of things that was going on, was still creating a defining indulgent weight upon you, or burden.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Being and Nothing


A Moment of Reprieve

54nosIn Jeane’s final dream (see Back to the Flow) she is attacked by Dracula and his zombie-like followers. Which is good news in the dream world, because we can see that she doesn’t run from her attackers, instead she stands her ground and, with the help of the masculine, defends herself from her attackers. As John notes, even when we make the connections that get us into the flow of life, we will always be confronted with the dead (zombie) aspects that try to throw us off on a personal tangent – disconnected from the flow. Fortunately, our defenses become stronger and stronger. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In the next dream, it’s like I’ve gone to this cabin with a young woman friend of mine, and I’m setting the cabin up to use magic. And there’s even a device that you plug into the wall – it’s kind of very thin and has a certain pattern to it that will magnify the energy of magic – but, as we’re setting up and stuff, that young man that was in the other dream and some of his buddies come in the cabin.

They’re really up to no good. I feel like they even are going to assault us or something. On the other hand, they have a couple of disadvantages, one of which is they don’t know that we can do magic – and I don’t want them to stumble and do things that actually magnify that. But also I don’t seem to really see them as bad guys, but I do feel like I have to handle the situation.

Well, in the process of that, of course, this is kind of this dancing around the room and kind of shifting things, myself with the other woman or even this thing that magnifies the magic such that as you keep this dance going and things it’s like they don’t quite get on with any intent that they had that wasn’t good. But then the problem that emerges is I suddenly see down to this next level and the really bad guys have arrived.

And the really head bad guy looks kind of like Dracula but with an orange cape, and he’s bent over actually the body of a woman I think is dressed in red. And then lined up to come into the place are a whole bunch of minions of his, that just are kind of like soulless, I mean they’re zombie-like.

Now I have to get really focused because these guys have to be stopped. But when I try to first stop him and he starts coming up the wall, because he’s on a level below, at me it’s like I’m able to use my hand to direct some kind of energy that knocks him down at first, but then he gets back up. And I realize in order to really stop him I have to use magic that the young man has but he doesn’t know he has.

I have to put my hand over his and then when we direct the energy we kind of really vaporize the Dracula. And then I do something that cuts off the head of the first person on the line, of that kind of soulless line, because that will make them all go away.

So it accomplishes the goal, but then it wakes the person that had come in to magic they didn’t know they had – but that was just how it had to be done.

John: In the final image you have caught up with things so that, based upon what is flowing around you, have an insight or perspective in terms of the whole. And, as a consequence, you’re not now affected or noodled by distractions that compromise this kind of sense of body clarity.

In other words, you’ve gotten the input, or connected to the input, of what is coming into life from the masculine perspective. You have the physical embodiment of yourself in a state of balance again. And so, when it’s like that, you carry a power about yourself that lends itself to being able to do magic or, in other words, to change, or shape, or direct something in terms of how it unfolds – to know that that is the best way of proceeding, or the best way something should be.

However, there’s still going to be things that act up around you, or that cause agitation, or counterbalance that quality of a flow. But they counterbalance it only because there are certain focused clarity ideas that are awry, that don’t necessarily comport or fit with the designed flow.

And that is an image that shows the degree to which you are still reactive towards things in terms of the masculine that you have to deal with in some fashion, only this time it is showing you that you are able to just contend with that in terms of how it is, and it’s not going to affect the way that you have pulled yourself together in an overall context.

In other words, what you’ve done is you’ve gone from initial set of dreaming in which you have cut yourself off and therefore can’t find what is taking place as far as a flow goes, and seem to be left in kind of an emptiness or vacuum in which not much is going on. And that is not in character with how you’re meant to be.

Then you proceed into kind of a middle zone in which what is going on is affected by the input of things coming in that create a counterbalance that kind of mixes things up to such a degree that it’s hard to maintain a sense of knowingness through this because, even though it awakens a flow to some degree, it will also, with the inflection of what is awoken, there is a vibratory imbalance that is fairly disconcerting that can get in the way and obliterate the overall flow understanding that you’re meant to be able to naturally maintain.

In the third dream, you get a moment of reprieve where you recognize the input as it’s coming in and enough of it comes in that coincides with a connection that you have in terms of yourself so that you immediately know what can take place, and what can be done, and how to do it, in terms of rearranging, or adjusting, or shaping something in the outer.

And to do that is deemed magic because you are working with characteristics in the outer that, in one way of looking at it, when you’re disconcerted from it, is veils of illusion, but when you are in touch with the flow coming through and inside of you from somewhere else, those so-called outer images or reflections can be utilized or played with accordingly because you are able to comport everything to that inner flow.

Also in that image, however, is even though you got back on track and you have this whole sense that you’re able to sustain and maintain, that there is always going to be something, in the outer, that tends to compromise, question, or challenge this way of being, in terms of yourself.

But you have awakened and embodied enough of the flow connection of the clarity and the subjective spatial overallness of yourself that that sort of thing kind of bounces around, but doesn’t divert you off of the prime objective of how you are able to live and carry yourself.

See how that was? That’s quite a dream.

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