Close your eyes and a voice, low and unhurried, asks you to rest your awareness in the space between your eyes. Under it, a soft bed of music holds the silence open. Nothing is asked of you except attention. Then the voice moves, and so does your attention: to the space between your temples, the space inside your nostrils, the space behind the throat, the space around the ears. Over roughly eighteen minutes, the meditation in Hay House's 2015 upload, led by Dr. Joe Dispenza, works its way from the smallest pockets of the head down to the feet, out past the walls of the room, and finally to a point where the voice asks you to become "nobody, no one, no thing, no way, where, in no time." Then it turns, almost abruptly, toward gratitude, and back toward a body and a life that has not yet arrived. The recording has been viewed more than 4.5 million times, and it is worth understanding not as a relaxation track but as a carefully ordered piece of attention training.
The instruction is the same almost every time: rest your awareness in a region, then "sense the energy of space" or "sense the volume of space" in it. That phrasing is the central design choice. Most guided practices ask you to notice sensation, such as warmth, tingling, tightness, or breath. This one asks you to notice the emptiness inside a part of the body and to treat that emptiness as having size and energy. The volume of the space between your temples is not a feeling you are trying to produce. It is a territory you are invited to notice already exists.
The sequence is worth tracing because it is not random. The chapter markers on the video, which Hay House supplied in its description, show the path: the space between the eyes at the start, the temples at about 1:08, the nostrils at 2:15, the back of the tongue and throat at 3:20, the ears at 4:27, the neck at 5:41, the chest at 6:44, the shoulders at 7:48, the back and spine at 8:58, the feet at 10:11, the whole body at 11:18, and then the room at 12:24. Each region is named briefly, returned to with the same two-part question, and released before the next begins. The rhythm is steady, and the repetition is part of the point.
Starting at the forehead and working outward is a choice about scale. The first space is small and specific, a place you can locate with a few seconds of effort. The meditation then trades that precision for breadth, moving downward through the head and neck, across the torso and arms, down the back, to the thighs and knees and feet. By the time the voice reaches "the space around your entire body," attention has traveled a long way and has become familiar with the idea of holding an area without gripping it.
From there the frame widens in three moves. The first is the space "between your body and the walls of the room." The second is "the volume of space that the entire room occupies." The third, which the voice introduces as "all of space," asks you to sense "the space that all of space takes up." The language here is deliberately recursive. The mind, which has been organizing the body into parts, is handed a container so large that the parts stop mattering. The effect is less like visualization and more like a camera slowly pulling back until the frame is no longer a room but a field.
"Now it's time to become nobody, no one, no thing, no way, where, in no time, to become pure Consciousness, to become an awareness in the infinite field of potentials and to invest your energy into possibility."
— Dr. Joe Dispenza, in the guided meditation published by Hay House, February 2015
That passage, around the fourteen-minute mark, is the hinge of the practice. Up to here, the meditation has used the body as a set of rooms to visit. From here it asks you to let go of the sense of being a particular someone in a particular room, and to hold attention in what the speaker calls an infinite field of potential. Whether or not that is a belief you share, the structure of the instruction is clear: body, then room, then no-room, then intention.
Most relaxation tracks end with the body. This one turns, at about 15:50, to gratitude, and the reasoning it gives is specific enough to examine. The speaker frames the meditation as a loop: a thought sends a signal out, and a feeling draws the corresponding event back. In the recording he says, "if the thought sends the signal out and the feeling draws the event back to you," then asks the listener to move into a state of gratitude and to give thanks for a new life before it has appeared.
The justification he offers is worth quoting in full, because it is what distinguishes gratitude here from ordinary thankfulness. In the same recording, Dispenza says, "for the emotional signature of gratitude means the event has already happened, and the longer you linger in gratitude the more you draw your new life to you, for gratitude is the ultimate state of receivership." The word that carries the weight is receivership. Gratitude is not presented as a reward for things already received. It is presented as the posture of someone who has already accepted what they are asking for, which is a different emotional stance from wanting it.
Readers who come to the video for relaxation may find this turn surprising. It is also the part of the recording that most clearly reflects the speaker's broader framework, the one the channel's description sums up as reprogramming how people think through what it calls "scientifically proven neurophysiological principles." The meditation itself does not explain those principles. It applies them, in the moment, by asking you to hold a feeling of gratitude while the space you have been sensing expands around you. Whether the mechanism works as described is a question the recording does not settle. What it does is give the practice a direction: the attention you have been training in the body and room is pointed, at the end, toward a future you are already thanking.
The last few minutes are the least dramatic and perhaps the most practical. At about 16:54 the voice asks you to "bring your awareness back to a new body, to a new life, into a whole new future." Then it lets you go: "when you're ready, you can open your eyes." That gentleness matters. A practice that has taken you past the walls of the room and into an infinite field needs an explicit landing, or the return can feel jarring.
For a first session, the practical advice is simple. Do not force the sensations. The instruction is to sense the volume of space, and volume is something you can approximate rather than measure. If the space between the eyes feels like nothing, stay with it for the length of a breath and move on. The recording moves at a pace that assumes you will not stop to analyze each region, so let the pace carry you. Stay in gratitude for as long as it feels real, even if that is only a few seconds, and do not reach for an event you feel you have to be grateful for. The speaker's own framing suggests the feeling matters more than the object.
The recording also works as a reference for anyone who wants to build their own practice. Its structure is portable: a small region, a sequence through the body, a widening to the room, a brief dissolving of the self, a turn to gratitude, and a return. Many people will find that the sequence works better when they adapt the regions to their own bodies, slow down where it feels alive, and skip the parts that do not land.
If this meditation is new to you, listen to it once with your eyes closed and do nothing else. On a second pass, try pausing after each region and noticing what changes when you attend to space instead of sensation. Then, if the gratitude section stays with you, spend a week beginning your sessions there. The video's own timestamps make it easy to find any section, and the description points to Dr. Joe Dispenza's books, including Evolve Your Brain: The Science of Changing Your Mind and You Are the Placebo, for readers who want the framework behind the practice in his own words. The meditation asks for very little. What it gives back depends on how carefully you listen.
