Posts Tagged ‘why are we here?’

DNA_Pixar_BayIt’s interesting to consider that everything that lives, everything that we can see with our eyes, or through a telescope, or a microscope, has everything it needs to be born, live, and fulfill its design – inside itself, and within its environment. And that includes humans, except that we have gotten the idea that our fulfillment comes through artificially created structures and societies that have nothing to do with our human purpose. We have put our faith, trust, and belief in anything and everything that is outside of us, external to us, and we suppress what our design is meant to do, and what it tries all the days of our lives to awaken us to. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: And then there’s just the final image, and in this final image there’s a picture that is taken of the scenario that I am in. It’s a family picture, and the reason for the family picture is to capture the essence of an intertwined unfoldment designed as an aspect of wholeness. In other words, where it’s at, at that particular point in time. It captures it. I mean you can actually see it. I mean you do it because that’s what you want. So it’s an interesting evening.

Now there is a seed thought that threads through all of this, and the seed thought that threads through all of this, and it’s something that I was noticing that’s kind of like sitting off to one side, and the seed thought is: that in order to handle the polarities, in order to go back and forth, you have to honor the heart. You have to honor the heart so that you follow that, the impulses within it.

Now to begin with, this is kind of scary and dangerous, because you can have a sense that this doesn’t feel right over here, but what if you’ve got some other traumatic quality of a thrown around nature that’s interfering, that’s causing you to draw that conclusion? Instead of it being like a clean impulse.

But the way you catch up with the clean impulses, some used to call them intuition and things like that, that come out of the blue, but they come all the time, synchronized and everything else to who we are, because we are the wholeness. If you pay attention to them, and you catch up with them, you can follow them as a kind of guidance.

To begin with, that’s hard because our mind, in its mannerisms, all take us off to this way and that way, and we don’t trust what we feel, even. And we have good reason not to trust what we feel because a lot of it is twisted in relationship to how our mind and senses have contaminated and cluttered things.

But if you get to a point where you can set aside that, and can go to these extremes, like to the indulgent side, and to the feminine side, and into the greater wholeness, and the aspects of something that is always so much bigger. If you can hear that, if you can see that, and the hearing and the seeing is a quality of the heart, if you can do that, but we don’t have a lot of trust is the problem, because we don’t trust ourselves, we’re bewildered by the variables around us, and that keeps us from acknowledging the impulses of the heart.

So the seed thought is, that if you can take in and respond to how the heart inflects, that is correct, that is the way to be, that knows, more often than not, and it will get better and better and better and better if you do it. But when you doubt it and you distrust it, you’re still yielding then to the mind and the senses and keeping yourself in some sort of bifurcated separate way, as opposed to being in the wholeness.

The heart, the quality, that naturalness, knows, but who can listen to it? That’s the seed thought behind this that causes one to have this to that. I was looking at it trying to fight as if I’m struggling with it all, always in a state of contention with it all.

You were looking at it from the standpoint that you were going back and forth and back and forth and back and forth, and finding something just continually unfolding, which is the nature of how it is meant to be each time you go up, each time you go back, each time you come here. You’re meant to keep doing that. You know, that’s how consciousness expands, and you were doing it at lightening speed, of course, in your dream, showing yourself to be taking on greater dimensions in both directions.

What caused the recognition of the greater dimension in the other place, the inner place, in other words, where you went to the peace, and then the final image where the guy wants to know where it is that he is meant to be buried or die, in other words, what is his true home? That shows the significance of the other, yet it was very significant in manifestation, too, as that kept unfolding.

Now they were interesting dreams, and that worked with the seed thought, too, but it worked with it in a way where it wasn’t having to sort the seed thought out in terms of, in my case, having to try to follow the naturalness that is the heart in a place of balance or wholeness. In your case, you’re just doing it, you’re just doing it. You don’t have the habituations so much that keep you from just going back and forth, and back and forth, and back and forth.

Now, if you had some habituations, if you had some reactions, if there was something that haunted you about all of that, then you would take a step back, then you would stop. But you weren’t doing that. You were going back and forth, and each thing kept unfolding, and everything was accepted. The water could overflow. The clothes and the greater wholeness that could be found here or what is needed here, could be taken back and forth.

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Mars by Bryan Versteeg (2013)

Bryan Versteeg

In this series of images we can see the process of development. It begins with removing limitations in ourselves and, as new possibilities open up – as new energies are connected to – we have to re-orient and rebalance ourselves. Systems always seek balance and equilibrium, so when changes are made, there is a phase of regrouping. And then we will reach a point where we can no longer be satisfied with being a “student” of the things we are learning, instead we must remake our lives to make the work a reality, rather than a philosophy. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So, in the initial dream, which I think was actually more about the theme, it’s like there’s been a contest, and then you get down to two that are left in the contest, and then those two elements are put inside something. I don’t know whether it’s a cave, or a microwave, or just some container, and an adjustment is made.

And whatever this adjustment is, it removes the limitations. And so I’m studying what happens then when limitations are removed. I don’t remember the detail of that as much as I remember the theme.

John: The theme of the dreaming had to do with orientation and alignment. What you looked at was a process of seeing contrast. But then ultimately you had this peculiarity in terms of how time played out. So it was very odd in terms of how to contend with this quickening of an orientation.

Jeane: In the second dream, it’s like I had retired, or quit work, and now I’m going back after being gone a couple of years. The same people are there that were there before, but the office structure has changed somewhat.

I have a desk that’s out in the open, and on the desk will be manuals and things that explain what the procedures are now, and it’s all kind of set up. But as I go there, because the whole place has moved on some for two years, what I’m doing is going around and observing, like I want to go to one area that’s on another level and notice where the administrator is, and which ones are there and which ones are gone because there will be like a referral base and you want them to know you’re back.

But I’m also just curious to see what everything’s looking like now. And it feels like after I do that on my own, because I don’t really have any business the first day or two because it’s like I’ve just come back so people don’t necessarily know you’re back.

and then I go, and I take you, and I go to this… it’s kind of like a theater, but it’s like a semi-circular theater in blues and whites, so that when you go in and you walk around a circle. And you look through windows down below, where whatever we’ve gone there to watch, and I take you in there and walk you around the semi-circle to where a woman and her family from work are sitting, coworker. It’s like I want to introduce you, but after I’ve introduced you it’s like we walk back around to the right because they were at the left to a place where we’re going to sit. And that’s all I remembered out of that dream.

John: As you told the dream there was like another level, like I say, I’m having trouble with these other levels that shift in. And, of course, the dream significance was obvious from the standpoint that something has to be shaken through, or brought back, or reoriented, or understood in terms of how it’s to be.

But the awkwardness is how to get anything done because something is so different. And that it’s almost as if whatever is introduced goes up against… In other words, your presence is introducing something. The introduction of me is trying to introduce something. It’s trying to cause something to be seen in a slightly different way. Whatever that is goes up against what is already in place.

What you’re doing in this dream is, even though it’s an image of going back to like something that you’ve done before and that something has changed about how it is, that’s the image, but the deeper meaning is that something is an awareness is rising up from within and, as it rises up from within, it comes full force before what is. And to try to soften things or to lead to an orientation or something that enables things to unfold more in keeping with how you remember it to be, you’re even trying to introduce or orient through your presence, and through introducing things like even the image of introducing me.

But when you told this dream in kind of a matter of fact way, as you were telling the dream, what was overlaying, which is something I don’t normally do, there was overlayment after overlayment. The overlayment that existed is, how is that going to work out now, because something is askew? Again, in keeping with the theme, how is this orientation going to… how are things going to be reoriented? Because what is, is, and what was, was, and there’s a gap.

Jeane: And in the last dream I’m reading a letter that Shadeen has sent out, and he’s explaining changes that he’s going to make, either what he’s going to do or won’t be continuing to do. And I’m just trying to figure out the implications of that.

What I would say is that in both the two dreams that came later, also in the back of my mind is the theme from the first dream, which is that there was something where there was an adjustment being made where a limitation is removed or not, you know, and how does that impact things?

And so when I’m reading Shadeen’s letter I’m trying to read it through that lens, in a way, trying to figure out what are the changes that will be made because he’s making some kind of change.

John: This is the process of an emptiness that consciousness approaches. One way of saying it is, the teacher’s role is the hand out, as fast as they can, that which is important for life to awaken. It’s kind of like that’s their duty, can they do that/ And in doing that something changes and something shifts.

At first they kind of stand out as something that maybe you see yourself leaning on, or having no way to function very well on your own without making a bigger mess, or being askew. But over time there’s a change that occurs, and that change is the result of something speeding up inside, or the catching up with what is being handed out. That’s a very unusual way of looking at things because people aren’t inclined to think that it’s that way.

The problem that exists is people are such takers that more generally than not it doesn’t get taken in, and therefore it doesn’t unfold. And yet one tries and tries, and that’s what the teacher does. They are handing out this essence, and it’s up to the student to figure out how to catch up with that essence – and not some of the gibberish that’s also part of perhaps a teacher’s personality. But the essence overrides it all.

There’s one movie, that was a kid’s movie, that portrays the way this works. A movie called [Nanny] McPhee, or whatever her name is, that starts off as kind of a person who checks in to look after the kids, and she’s kind of an ugly looking wench. But then, as what she has to teach, or show them, to bring them back from their distortions, distortional approach, as each lesson gets learned, or as something gets learned, she changes, until she kind of comes back to the youthfulness and beauty of who she is. And then she leaves.

And the punch line to that was, the more you don’t want me, the more it’s important for her to remain. And when you think that you need me, that’s when I have to go. And what she has done is she’s handed out life lessons that cause something to change.

In other words, a process has run its course to some degree, and he’s checking out. And that’s kind of how it is. That’s how it is with everything. You know, you’re not here to make something out of this, you’re here to use this as a loci from which you, so to speak, establish a base that goes forward.

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RingofFireSolarEclipseHow can stillness or nothingness be the goal of a spiritual path? Perhaps the answer lives in the realms of being a perfect conduit between what comes to us from above, and what we experience in the outer and send back to the universe. That is a service that should not include our biases and likes and dislikes. We can think of ourselves as a Mars Rover, sent here by creation to send back information about the realms of matter, so that the universe can better evolve. And it’s a critical job to the purpose of the whole. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So to put it in to context, it was like a door in which the door can be described, you can come up to the door, you can know a lot about it, but you have to step through it. And when you step through it, everything kind of changes.

Now last night I finally pulled a certain anxiety together in that I am able to see and was seeing, now going beyond this negative of where, okay, the running question had been, are we going for a reset here? How is this going to work?

Because I can see where you could say that there is a reflective problem – in terms of where you could have these subtle deviations that result in all of these different tariqas, and religions, and spiritual practices, and processes, and paths and whatnot, that all have the same intent of going towards a oneness but don’t quite get there because they have some little subtle hinky in the note.

And last night I worked out… first of all what was happening is I was realizing that if I was in a stillness, I wouldn’t dream. And that at a depth of that stillness there was a way of knowing things, and because a human being has put inside of themselves everything in the universe, there’s a way of knowing what is, what’s to be, so to speak.

If you can totally, truly get out of the way and be in a total stillness, any kind of state, any kind of equivocation goes on, the biases then prevent you from actually getting it, actually seeing something.

So if you can actually be in the stillness, and at home in the nothing but nothingness, you then have, and I was shown, three prominent levels in the stillness. Now I don’t know what the stillness is, I can’t tell you anything about it, I can’t tell you where the motion is to it because there was no motion, all I was shown that there’s the 110, 130, and 150, three key aspects to it. And so I go, wow! And that’s all that I’m left with in my meditation dream. Then when I go to sleep, I’m presented with having to operate in a way that totally lets go.

And so that dream starts off in which I am sitting in a bunch of chairs, and there’s a teacher in the front, and all of a sudden everyone has to get closer. And so there’s this movement to shift to the front, and you make this in a non-thinking way. You’re just automatically drawn.

It’s just like an osmosis vacuum with the exception that, for some peculiar reason in the shifting forward, I was a little too slow and ended up in the lap of somebody already sitting in a seat. And this time, when I look to move forward, now I’m looking to move forward, I’m acting as if I’m trying to move forward, and so now it’s contaminated.

And then that image shifted to me being kind of out in an open area and there is a young girl that’s there that I’m talking to, that I’m relating to. And so I’m talking about there being a stillness I guess to everything, and that suddenly this discussion comes around to proving it. And so I say the way I can prove this is by asking a question or two.

So the first question I ask is a question that tunes or hits the vibration of the energy in such a way that it creates a reaction, so she’s spinning around doing this, that, and the other and, obviously then, because I’m connected to everything, I even lose the question that I was to pose – let alone getting this to where it proved that the stillness is everything.

So when she stabilizes and that collateral effect has kind of dissipated, I think of the next question. And so what I say to her is I say, “This next question I’m going to be presenting two things, neither of these are true. Which is the least true? Which is the least true?”

Understand now this is all along the schematic of trying to prove to her that the stillness is everything. And so I say to her, “Which is least untrue: putting yourself in the hearts of others. And when you say the hearts of others means the involvement, the attention, and the scopality that goes into everything in the outer that we do, where our perceptions go out like that.

And, ultimately, if you then reduce it an individual level, you know, you’re developing empathic abilities and sensitivities that deal with the perception of you being able to feel them, or seemingly the senses that you’re feeling them, inside of them, and you’re able to then kind of recognize something. But that’s the reaching out, that’s the putting of your heart in things.

And then the second is: “Putting everything into your heart. Which is less untrue?”

Immediately what ended up happening is, there she goes. She’s spinning away, and her eyes are flashing around, and there’s a little delirium going on because this is something that has not been sorted out, our aligned, in terms of a getting it, kind of thing, of a letting go kind of thing.

And so when she finally slows down and stabilizes and kind of is back again, then I say to her, then I change what I said a little bit, and I say, “One of them is actually true, but then again it has an untruth in it from one way of looking at it. And the other is actually untrue, but it has a truth in it from another way of looking at it.” And that’s where I left it.

And then from that I came to know that the process upon which, in terms of the shift, being able to go through the door, what that means and what that causes to happen. I’m going to use the term used for this in terms of presenting this as a subject matter. It’s called the Ring of Fire. And inside of each person they have to go through things in life until they have dropped all of even the subtle nuances, until you actually can hit a stillness. Because otherwise you’re still affecting and biasing, in some subtle way, everything in the outer around around you.

So you have to hit the stillness in order to, the way it’s put, is to be able to do the work you have to hit the stillness to be able to do the work, or otherwise you’re still going to be putting your little note to it. Just like you have the little Chisti note, you have the little Naqshband note, and on and on you could go. When you’re able to do that, you’re able to do the true work.

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