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Posts Tagged ‘the in-breath and the out-breath in dreaming’

The signs are everywhere: humans have a unique ability to consciously integrate opposite states. We see it in the relationship between energy and matter, or the spirit and the physical, and we see it in the assimilation of the different natures between in-breath and out-breath. And it’s an important idea because things that are in different states, i.e., energy and matter, need a third state to make the integration – and we humans provide that third state. Thus, in us, all things can come together in ways that are not possible in any other form. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I don’t know whether my dreams last night made any sense to me. I know I had one dream that must have been triggered by a spill of something on the couch because it felt like I was focused on how you could absorb something and improve it by absorbing it. I just don’t remember enough details of that, but that seemed to fascinate me a bit how you could just take salt or something and absorb something.

And then I know I had a dream that I seem to be visiting people, and at night time. They had to scatter with where they slept, and one girl went up into the mountains kind of alone to stay in a house that used to be lived in by her parents. And they had left now and she had the house. 

And some people stayed a little bit closer in the city. And I seem to travel up on a road near her house, but, realizing it was dark out, I just seemed to sleep somewhere kind of rough. And then the next day, when we all got together, a friend that I knew that used to lead seminars is there, and she’s meeting with all of us. 

And I had assumed that the person that slept in her parents house was comfortable, but I found out that actually she felt lonely being there. I’m hearing about how people felt about their night. And then the seminar leader gets up and she goes over and she takes a look at a pair of boots that I have that are this soft kind of yellow leather, and seems really interested in them. And then she leaves. 

And so then I go study my own boots to see what it was that kind of interested her about them. And I think that was when I woke up. I mean, none of the dreams seem to make any sense to me.

John: What’s interesting is I see all of the dreams connected. It’s almost as if you’re shorting out a story, so you’re telling it in bits and pieces. Because to tell it in one fell swoop or something, is something still of a mystery to you, so it seems that by the bits and pieces you’ve got a whole picture. 

And that you have to take in all of that as a whole picture, which means that I should probably start trying to do that with all of the dreams that happen, and the meditation dream and everything else that are connected in a given night because I can see that there is in some cases 180-degree snap difference – but is that really a difference? 

Is it not just a way of how it needs to be processed? Because in an out-breath and an in-breath way, there is a dichotomy that exists. And that if something has a particular focus, and is being brought down, and then on an in-breath you have the vibration of something of a letting go in a greater expansiveness back towards a stillness. 

And the out-breath is the opposite of that, because again, it’s the bringing of something down and through and doing it in a way that is accommodational to manifestation. And somehow or another, the in-breath, then, will look to be in contrast to it if you break those things up in a sequencing or something, you have them going on like that. 

And, in your dream, first you started with the absorptive process, it’s a component that has to be there, that both the in-breath and the out-breath are things that have to be absorbed in one’s nature. So you start with the theorem that, through all of this, there has to be the ability to sweep in and sweep up or, in other words, absorb, or take in, the unfoldment simultaneously, because you never know which is going to be unfolding – whether it’s an out-breath or an in-breath. And they follow so close to each other that you need to be able to absorb their effects so that you don’t get caught in a personal motif. 

In the second aspect of it you were shown the differentiated parts of yourself where there is the part that comes into a scenario, in other words, sleeps in the house, that is the parent’s house or family house or whatever it is, that is contractive, and contrasting, and identifiable to that person. And so there is a type of coming down quality that is distinct and, perhaps, miserable as an expression. 

And, at the same time, or to also be happening, is the expansiveness of an event, of something that’s supposed to take place in the atmosphere. And because it’s expansive, and the other was contractive, that can come across as a contrast. 

And then the final image, you saw this as yellow boots, and boots are a way of conducting oneself, and yellow is a way of being able to be in a simultaneous way, not having to be thrown around by both in-breath and out-breath. Thus the reason for the word rhythm, but we’re still looking for an even more in-depth meaning to the word rhythm.

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We’ve all had relationships with living things: people, pets, even plants and trees in our yard. Yet even inanimate objects are made of energy that we can relate to. Sometimes we’ll have that sort of connection with an old car, or an art object, or a painting on our wall. Does that seem silly? And is it possible that such attention from us helps the car run better, or charges the art object with good feelings, or that we can draw happiness from a favorite painting? All these things are possible, and happen, depending on our awareness and intention. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So you’re pointing out this quality of oneness in this way. In my particular case, it’s like I’m being absorbed into things, and drawn to being absorbed into things, or taking on things. Going into, taking on, seeing the vibratoriness of a greater heartfulness, or something, that does all of this. 

And the seeing takes out the vibration of the heartfulness, but the expansiveness quality, that takes all of that in, can take it in to the degree to which the feeling quality is there, as opposed to some reactive or self-limiting linearity, or something. 

So it’s this kind of dynamic that one’s playing with, it’s on an in-breath level. I tend to take the meditation dream and even try to apply it to what’s going on into a scenario in order to try to exude out of it the aliveness that’s embedded in it.

The meditation dream is on the same sort of subject of something with greater spaciality or capacity. In other words, to begin with, the way this sort of thing starts is, I’m able to kind of perceive an object in the distance. And I notice that it has kind of a bit of a spiral, maybe Space Needle look to it, in the distance. And so, in that regard, it’s intriguing. 

But to begin with, that’s the most of it is just kind of a curiosity item. But the more I come closer to it, out of curiosity, the more I realize that I’m able to make out that the object, first of all, it draws you in. Second, it has a quality about it that needs an embracing with a greater capacity. It’s actually kind of working with two colors simultaneously, which is really interesting, because the object is either green or red – and I can’t tell you for sure because it seems to have switched, or changed, when I get real close.

But the dilemma is, even though I knew it was green and red, was the features: I can’t tell you whether it was green turning to red, or red turning to green, or maybe both ways somehow. What I do know is that whatever undulations existed, when up close the object just surprised me with having an aliveness about it. And that it could speak to me, I could relate to what it was about, or wanted, or I could touch it, or it could touch me. 

So what is going on is this is a dream vision in which I am making a connection relationship to that which is an inanimate aliveness in life. As I come closer to the object, I find myself, at some point, drawn into it. It is as if a switch occurs in which there is a red green interplay. But what I can’t tell is if my first glimpse of color was red, or whether it was green, all I know is that those were the two colors that were involved. And all I can say about that is that when I am up close, it’s opposite what maybe I was initially perceiving and thinking. 

And what’s odd about it is if I was to try to sort that out, and said, well, I think I initially perceived it as red, then it would have been green up close. Or if I would have said, well, I think I initially perceived it as green, then it would have been red up close. 

So, either way, it has an oracle-like effect over me as I find myself able to hear it as if it’s an aliveness. Or, to put this another way, red is an immersion into the outer, with a value orientation, and green is an immersion into life with a heartfulness. Both ways somehow coexist, depending upon the aliveness at the time. 

An aliveness meaning whether you’re looking in a state, or trying to understand it, or grasp it, or see it and make some headway that way, which has a different use of light, a different color, more of a red, or whether you’re trying to feel what this is all about, which is more in the green. 

So this is akin to the rhythm of the breath, in which I am in life and in a heartfelt capacity that is absorptive, but also with a combinational flicker sort of capacity in this absorptive, and yet there’s both, somehow, simultaneously – as I try to get my head around it in terms of a seeing. These differences, if you were going to call them differences, are more like a type of coming together – between definition and feeling – that coexists in a way of oneness.

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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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