Posts Tagged ‘personal reactions set us off course’

As Above So Below-Vandorn-HinnantThe recent theme has been about reaction actions or, said another way, how our established patterns veer us off from our connection to the Whole. We all have such patterns, triggered as defense mechanisms or fears, etc., but here John describes how our interaction with the physical world is really a dialogue with the universe, which, with the right conscious awareness, can bring us closer to the ways of what is unfolding. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So in the next dream, there’s a woman who keeps projecting a mannerism that purports to be okay. When I see her as weakened, or sick, I assume that this is just a passing mannerism, because I also see her as projecting herself to be okay. 

So another person I know is able to help her out, because he notices the condition and is readily responsive to the need – but I don’t emulate that. I keep thinking and assuming that it’s all passing. Therefore I don’t necessarily respond in the moment, because I am seeing the condition as not that big a deal. 

This other person doesn’t have that demeanor, and isn’t distracted. This person is able to drop whatever he is doing, and however he happens to be at a given point in time, to be receptive to the situation. 

In the dream the situation occurs twice. The first time I am too busy to notice. The guy is able to, as I’m even responding to him, he has even recognized, well, I am on some tangent in my nature. The first time I notice this I feel an embarrassment by such lack of connective awareness. The second time this happens, I am in the scenario, and do not see the reaching out.  

In other words, the reaching out from the woman. In other words, she’s doing it quietly. This guy steps forward to respond to the call for help that I miss yet again.

The meaning of this is, the theme of the dreams last night dealt with the reactions actions of our nature. In the first dream, I am shown that I am unable to appreciate an empty space within, if I am always responding reflectively.

In the second dream I am shown that I am not able to be where needed when my attention is concerned in some way or another. The dream embarrasses me by pointing out how unreceptive I am when I am on a side tangent.

This last one looks kind of different, but what it is is it’s a break from a rigidity pattern where you have to simply get it – and break the pattern. So I’m looking at a series of entries that are like what you see in a check register, except this is a long column on a single page. You know, columns with entries.

There is one line left at the bottom of the page for another entry, but it’s a little bit like a checkbook where every line is about something that has to be paid for and dealt with. The entry that is anticipated on this line is more of the same like what’s above.

And, of course, that’s how I’ve been making the entries. They all have to do with give and take on things. I know something needs to change, and I wake up realizing that what is needed is a cash out entry. That would complete the above, so that top to bottom it zeros out.

The meaning is I am using this image as a get-off answer to the treadmill of reaction action. I can feel the quietness of this way of letting go. The way that fits of course with the dream before is, until you do that, you’re always going to have the reaction action of the pulse of things, and you’re not going to be able to recognize the subtleness of things around you, the inflections of things around you, that you need to be attentive to.

You’re only going to be responding to the obvious as an understanding that rises up inside of you, instead of taking into account the greater Wholeness, and all the other levels that are there, as well, which aren’t being taken into account if you’re just responding to your synapses.

A human being, he has a huge problem here because he’s in a human body that’s taking all these blows, and those blows carry memories, and those memories carry inflections, and reflections, and all of that also is part of higher self and all of that gets fed to you.

And so you create a collage with that, and you find yourself responding, and the tendency, because you’re coming off of the senses and stuff, your tendency is to stay very linear, and you do a lot of damage that way because you miss, then, where your attention and your closeness needs to be in terms of the greater Whole.

And there’s a greater closeness in the greater Whole, too, when you take into account all the levels because there’s appreciation, and there’s a graciousness. There’s a deep touching that exists when you see that that’s all naturally meant to be like that. And you suffer when you are off on some tangential resolution, as if you have a right to make tangential resolutions that are black-and-white.

You need to go from that, all the way to the subtle. You need to take all of it into account simultaneously. That’s the play. The quietness is still the quietness, even though it inflected something into, and caused a creation to be there. It’s still a quietness. It’s still a joke. It’s still just a flicker that’s done there in order to create a wave, or something, that wouldn’t be there if it wasn’t for the flicker, but it’s still a quietness.

The key is, just because it took and threw this curve that you identified and got lost in the curve, you accept the curve. The curve is you as well. This curve has been thrown out, and at the same time you backdoor the curve all the way to the point of the quietness again. And so it’s all a joke.

It’s all kind of a big laugh. It’s kind of like no different than a person who cracks these jokes. They go along, and everything is serious, and they can’t handle the seriousness, so they crack a joke. And that joke is a curve to the whole situation that’s in front of you, and you’re supposed to let go, and lighten up, and be able to laugh at it because it’s just a curve.

So we have this going on all the time, even in the outer in terms of our correlations back and forth with each other, and yet the big each other is a Oneness that’s with this whole dialogue of the Whole. And we get lost in the reactions, and the reactions cause us to get narrow, and when we get narrow, we lose the bigger schematic.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Dialogue of the Whole

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action_reaction_2In dreams, as in life, when we have personal reactions to events that we are involved in, it sets us off down a certain path. Here, Jeane’s dreams show how reactions can throw us off balance and introduce elements that become harder and harder to manage. How life unfolds is not up to us, but we can determine how we process those events, especially if we remember that everything is intertwined. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: My dreams last night were really complex and were all over the place. I had one dream that just kept going on and having all of these shifts in it.

Wherever the dream began, it felt like I had a couple of things going on, and one of them was it seemed important to be fixing the speedometer of the car, but that was a very complex thing because it was almost like a speedometer that a person was carrying around inside them. And it had to be done in the right place at the right time, and I had to kind of stay with them until that got done.

John: That right away is setting the tone in terms of portraying the theme in which the theme has to do with a type of timing, in order to stay in sync with how something is intended to unfold.

Jeane: There’s the one thing going on in the dreaming with that, and it seems like at one point I even take you to the hospital for some kind of operation that you need, and I’m involved with the doctors and I don’t like to be very far, and it feels like the speedometer is still there inside you somewhere and I’m having to keep that in mind.

I have that going on, and then there is this secondary theme that develops in the dream…

John: That dream is showing you the reactionariness, the unhealthiness of the reactionariness. I’m used as an example of that, so to speak, in you, in terms of you know how to hold a balance, a nature that lets things just be and can stay more observing in it and let it hang out.

But then you have that reactionariness that has to do with quibbling with the speed, and the unfoldment of things. Even though I see things sometimes and speaking of myself personally, even though I see things I still get carried away when it actually happens, because in one sense I think I have to plug myself into the action. But it’s better to be completely totally neutral like you are recognizing, or otherwise you’re going to suffer and get ill, get whacked, get sick.

Jeane: Then there’s a secondary theme going on that I seem to have connected with people that are involved with a certain process, or way, that you breathe, and connected breathing to release things. And these are people I’ve known from my past, and I’m connecting with them and that process is getting brought and linked into whatever is going on also with the speedometer and a surgery that’s going on.

John: So what you’re doing there is, is this happens automatically, like if you have some sort of reactionariness over anything that’s out of cadence in your nature, your breath is effected in that exact instance. That is why the word choking comes in and the energy goes to the throat, or there can be the heart hitting the floor because you’re shocked by what happens and, somehow or another, it’s not supposed to happen to you.

In other words, your breath is in cadence with that so if you get emotionally distraught or get all discontangled or jumbled, it immediately goes to the breath. It’s not like there’s a delayed effect or anything like that, so if you’re aware, or attentive, with the breath, you always are in sync with what is going on, as it is unfolding, in terms of a connection that you uphold or maintain from within.

Jeane: And then, in terms of reactingness the other thing that goes on is that there are two other dreams or three that get entwined in there, and all of them just seem to go from… They are all intwined, that’s all I can say.

In this one, I’ve gone with you to meet some family, your parents, and then there’s a little sister too, and that whole scene seems to take place in just a couple of rooms, a kitchen and a bedroom with bunk beds.

Your parents sleep on the top bunk bed, and when we’re in the kitchen it feels like there are these spiders, and there are these two spiders that come along that look kind of like mop heads, and your sister even kind of steps at one. And I know that the part of the dream that I most remember is that I go into the bedroom and I insist your dad go out because these spiders I feel he should kill these spiders. I mean, they don’t look right.

They look more like mop heads. They’re that big, and they’re that sluggish, and even though I’m not sure they’re going to do anything, it’s like he’s the guy, he needs to go take care of the spiders.

And then I see another little spider up on top of your mother’s bunk bed, so I won’t stay up there. I tell her – she would have just left it alone – but it looks to me like one of those little ones that could bite you, so I kind of insist she get rid of it.

And then you and I, I think, sleep in the lower bunk, but then the dream is like off and running again with all the other themes kind of intertwined in it.

John: So what you’re doing is, first of all, you’re setting up at the very beginning, the stuff that shows reactionariness or qualities to which you’re trying to hold onto a cadence or a mannerism, and hold onto it with the breath, and to hold into it with a certain balance.

First of all you laid out the chronology of what takes place, and how one goes off is kind of laid out. Then, at the very end, you point out the area in which you are most susceptible and vulnerable in terms of holding a certain line, or mannerism, and that is an area in which you have included into your world something that you have taken on.

Well, this is kind of hard to see. In other words, I’m in your world, but in some sense you have the understanding of how to hold a certain balance. In other words, you know this stuff in terms of how to hold a certain balance, in terms of how you need to be, if you are looking at something, if you take responsibility for what you are able to see right at the beginning.

In other words, the introduction of this stuff as a schematic, and as a process, which you need to adhere to, which flows from within. You’re given the blueprint, so to speak. This part of the dream is showing you the one area, and is showing you a very specific area, in which you somehow or another are making an exception to the application of this knowingness.

And that is when it has to do with something that is happening to me. Somehow or another you’re buying into that as something that’s affecting you reciprocally, as opposed to realizing that, even in that area, you are entwined.

That is why it’s my parents, and yet your spider. In the past, ordinarily, if it were you reacting to something that is unfolding strictly from inside of you, to which you take that type of responsibility, or would like to take that type of responsibility, but aren’t quite doing or something, then it would be your parents.

But no, no, you’ve been shown, and got the memo of, how it needs to be in the first part of all of the dreaming, and now it’s happening to me, and it’s my parents and therefore the spiders. Just because it has that wrinkle, doesn’t mean it’s any different.

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

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