Carl Jung developed a technique called "active imagination" where one moves between waking and dreaming consciousness to experience vivid inner images and insights. Jung used this technique himself and had mystical visions during a period of illness. Some key aspects of active imagination according to Jung are: relaxing the focused mind and opening to dreamlike imagery, maintaining awareness during the experience, engaging with the inner visions, and recording insights gained. Jung's own visions included seeing the Earth from space and entering an ancient temple where he felt stripped of his identity yet also a bundle of his experiences. He interpreted these as mystical experiences of harmony and balance.
Carl Jung developed a technique called "active imagination" where one moves between waking and dreaming consciousness to experience vivid inner images and insights. Jung used this technique himself and had mystical visions during a period of illness. Some key aspects of active imagination according to Jung are: relaxing the focused mind and opening to dreamlike imagery, maintaining awareness during the experience, engaging with the inner visions, and recording insights gained. Jung's own visions included seeing the Earth from space and entering an ancient temple where he felt stripped of his identity yet also a bundle of his experiences. He interpreted these as mystical experiences of harmony and balance.
Carl Jung developed a technique called "active imagination" where one moves between waking and dreaming consciousness to experience vivid inner images and insights. Jung used this technique himself and had mystical visions during a period of illness. Some key aspects of active imagination according to Jung are: relaxing the focused mind and opening to dreamlike imagery, maintaining awareness during the experience, engaging with the inner visions, and recording insights gained. Jung's own visions included seeing the Earth from space and entering an ancient temple where he felt stripped of his identity yet also a bundle of his experiences. He interpreted these as mystical experiences of harmony and balance.
Carl Jung developed a technique called "active imagination" where one moves between waking and dreaming consciousness to experience vivid inner images and insights. Jung used this technique himself and had mystical visions during a period of illness. Some key aspects of active imagination according to Jung are: relaxing the focused mind and opening to dreamlike imagery, maintaining awareness during the experience, engaging with the inner visions, and recording insights gained. Jung's own visions included seeing the Earth from space and entering an ancient temple where he felt stripped of his identity yet also a bundle of his experiences. He interpreted these as mystical experiences of harmony and balance.
ACTIVE IMAGINATION TECHNIQUES -- CARL JUNG NEWS: DEC 2010:
Many of us find our way to places like the pulse on a quest for understanding of the Astral Projection experience. But, if you're at all like me, you didn't really know much about AP besides what you read from people like Monroe, Bruce, Moen, Buhlman, etc. You may also be like me in that you are interested in these kinds of experiences beyond the "modern interpretation". What I mean by that is that I am really interested in the phenomena of "the otherworld", which includes, but is not limited to just Astral Projection. Some people lump all experiences of "the otherworld" as astral projection, which is true in a way. However, experience of the otherworlds (whatever you call it) exist on an infinite continuum of varying degrees of awareness and varying "locales". You will encounter many of these experiences in shamanistic (which i use here to mean not only the indigenous tribal shaman, but also most branches of paganism) techniques especially, and usually in the context of self-healing and healing of the community (local and global). But these experiences aren't limited to the world of mystics alone. In fact, some of the world's greatest scientists were doing a lot of research into the nature of these other worlds. From physicists to biologists to psychologists and everything in between. Even some researchers that conventional academia swears would never be involved in such things, like William James (the father of modern psychology) for example. Getting Started: Today I want to share a technique for self-healing/actualization that I believe is very close to what we around here call phasing, put forth by Carl Jung. Jung described this technique as 'Active Imagination' and believed it to be a crucial tool in healing the psyche. Though Jung didn't really write about this much, he did practice it and many of his students wrote about it. The following was collected from http://www.bodysoulandspirit.net. You can find other information from a slightly more "scientific" perspective regarding these types of experiences on that site. Anyway, lets move on with some basic techniques for active imagination. Active Imagination is possible when one moves his/her everyday consciousness towards the dream world. "Dream world" is used here to mean nothing more nor less than that realm that we all experience when sleeping, falling into sleep, or coming out of sleep. Since we all know this experience it is used here as short-hand to describe the major tone of Active Imagination practice. The first step towards getting started in Active Imagination requires spending time observing the "dream world" state. * Try to observe yourself awakening in the morning (or if you prefer, falling asleep at night). Allow enough time to carefully see how you emerge out of sleep and how it is possible to remain half alert and half asleep. Do this several times over a week. If you have problems with this, try the same process during a nap. From these observations, we learn that our dreaming involves a state of mind where anything is possible. Dreams are free to follow all sorts of paths and free to generate all sorts of images, feelings, and thoughts. Also notable, is the frequency in which images, feelings, and thoughts are mingled closely together.Our daily way of being typically requires us to be quite focused, goal oriented. Our thoughts and feelings are prescribed around a relatively few major themes. We tend to exclude a great deal in this process and freedom is not a word that can be used to describe this state of mind. * Find the means that allows you to move into profound relaxation but with mental clarity remaining. Try body relaxation methods. Try music. Use whatever method most slows down the everyday mind and opens it to whatever happens. * Find your own answers to these important questions: What do you need to do to move away from being overly focused on your day's events towards the dream world? What does it feel like to relax deeply? What does it feel like when you blend of the dream world with your quiet, watchful, alertness? * Also, try to increase your ability to recall your dreams. Record your dreams and study them not so much to interpret their meaning but to recover the moods that they convey, the images they use, the feelings they bring to the surface. Try to get a fix on the feeling of the dream experience. * Later, after you have mastered capturing the tone of the dream world, set aside time to move from your everyday type of consciousness to the dream world. Watch out, you might fall asleep, losing the awareness you need to do Active Imagination. Relax into it, keep alert, pull up your memories of what the dream world feels like. Watch for the emergence of detailed images, feelings, and insights. Work at making these images, feelings, and insights more vivid. This is where the "Active" of Active Imagination comes from. You are required to become engaged in your inner world, bringing yourself to this process in terms of alertness and willingness to learn. Remain alert. You must remember what you see/experience or you will not be doing "Active" Imagination. By necessity, this will keep your sessions short, maybe lasting only ten minutes or fifteen minutes. Make notes afterward, especially on what you have learned on what the experience feels like. ADVANCED TECHNIQUES: Active Imagination practice is as challenging and robust as any other Soul or Spirit discipline used throughout history and throughout the world. While several disciplines have had far and wide promotion (i.e. prayer in Christianity and meditation in Hinduism/Buddhism), the proponents of Active Imagination have not been so well organized or powerful in conveying their message. Active Imagination has frequently been an "accidental practice" such as in Alchemy when these early chemists had their deeper imaginations activated by their dedication to finding gold in their retorts and chemicals. Many artists (visual and performing) turn to Active Imagination with little awareness of its history or relationship to Soul and Spirit work to get the insights needed for outstanding creations. The following steps are offered to heighten awareness of just what is involved with consciously applied Active Imagination practice and outlines much of the work that is necessary to make this an important discipline. MYSTICAL EXPERIENCES OF CARL JUNG: (1875 - 1961) [ACTIVE IMAGINATION] Swiss psychologist and major contributor to psychotherapy, Carl Jung cultivated the ability to have visions from deep imagination. Some would label these explorations as mystical experiences while others would say they are more akin to the sort creative thinking artists do. In addition to these experiences, Jung had several spontaneous visions when he was recovering from a heart attack when he was 69. All of his visions are described in detail in his book Memories, Dreams, Reflections. Sick Bed Visions (1944) "It seemed to me that I was high up in space. Far below I saw the globe of the earth, bathed in a gloriously blue light. I saw the deep blue sea and the continents. Far below my feet lay Ceylon, and in the distance ahead of me the subcontinent of India. My field of vision did not include the whole earth, but its global shape was plainly distinguishable and its outlines shone with a silvery gleam through that wonderful blue light...the sight of earth from this height was the most glorious thing I had ever seen... Something new entered my field of vision. A short distance away I saw in space a tremendous dark block of stone, like a meteorite. It was about the size of my house, or even bigger. It was floating in space, and I myself was floating in space. An entrance led into a small antechamber. To the right of the entrance, a black Hindu sat silently in lotus posture upon a stone bench...I knew that he expected me. Two steps led up to this antechamber, and inside...was the gate to the temple. As I approached the steps leading up to the entrance into the rock, a strange thing happened: I had the feeling that everything was being sloughed away; everything I aimed at or wished for or thought, the whole phantasmagoria of earthly existence, fell away or was stripped from me---an extremely painful process. Nevertheless something remained; it was as if I now carrried along with me everything I had ever experienced or done, everything that had happened around me. I might also say: it was with me, and I was it. I consisted of all that, so to speak. I consisted of my own history, and I felt with great certainty: this is what I am. I am this bundle of what has been, and what has been accomplished. This experience gave me a feeling of extreme poverty, but at the same time of great fullness." Over the next few weeks, Jung would feel gloomy by day, sleep the early evening to midnight and then awaken to a feeling of ecstasy. "It was as if I were in an ecstasy. I felt as though I were floating in space, as though I were safe in the womb of the universe---in a tremendous void, but filled with the highest possible feeling of happiness. Everything around me seemed enchanted...Night after night I floated in a state of purest bliss, thronged round with images of all creation." During this time, Jung has visions of several images of "mystical marriage." Mystical marriage is a complex concept that has been expressed in the writings and artwork of alchemy, kabbala, Gnosticism, and some major religions. The marriage occurs when two powers, such as the Chinese yin (the feminine) and yang (the masculine) are brought into harmony; in this case to form the Tao. Since yin and yang represent many different attitudes and ways of comporting ourselves in the world, a marriage indicates that we have the power to be in balance with these two powerful forces. We are the "whole" person, not limited to one side of the coin but instead enlightened enough to be able to employ whatever attitude or behavior is appropriate in the moment. To Jung and Jungians, this was a vision of tremendous importance and of a high achievement. (For a full retelling of these visions, see chapter 10 of Jung's, Memories, Dreams, Reflections.) Cultivated Visions Memories, Dreams, Reflections pulled together Jung's autobiographical recollections from his lectures, letters, and conversations. Published after his death, this book provides an inside view of Jung's own experience with Active Imagination. In Chapter 6, "Confrontation With The Unconscious," we learn how Jung is thrown into his inner world when he finds himself out of his mentors world. In his mid-thirties, he has a falling out with Freud and finds himself out on his own without the professional connections he enjoyed through Freud's connections. With time on his hands and with enough understanding of the inner world, Jung decides to go as deeply as possible. Here, in very summary format, is what he experiences. First Recorded Active Imagination Experience - December 12, 1913: sits at his desk and decides to "just let himself drop." He finds having the sensation that the ground has literally given out under his feet. He plunges into the dark depths. Not too long in his fall he lands on soft ground, actually a "sticky mass." Once his eyes adjusts he begins to see some details in the near darkness. Before him is an entrance to a cave, in which stood a dwarf with leathery skin. Jung squeezes past this person and soon begins to wade through icy water which is knee deep. At the other end of the cave he sees, on a projecting rock, a glowing red crystal. Lifting the crystal he sees that that there is a hole in the ground allowing him to see down to a river. He soon sees a corpse floating by (a boy with blonde hair). He is followed by a gigantic black scarab and then by a red, newborn sun, rising up out of the depths of the water. Blinded by the sun, Jung wants to replace the crystal in the hole to block the sun's rays but a fluid starts to pour out of the whole. It is blood. Blood pours out and Jung feels nauseated. On it pours until finally, it comes to an end. Jung's Active Imagination ends. (p. 179, Vintage edition of Memories, Dreams, Reflections) Second Recorded Active Imagination Experience - No Date Given: Jung uses a visual technique that he has found helps him go deeper into Active Imagination. This technique is a realistic visualization of descending a great distance. In this experience he figures that he has descended about a 1000 feet. There he discovers a "cosmic abyss." Next he sees something like a moon crater and then he has the feeling that he is in the land of the dead. Near the steep slope of a rock he catches the sight of two people, one an old man and the other, a beautiful young girl. He summons up his courage and approaches them. He listens carefully to what they say. The old man turns out to be the biblical figure Elijah and the girl, Salome. "What a strange couple," he muses. But Elijah tells Jung that he and Salome belong together for all eternity. Along with the two is a third, a large black snake. Jung sticks close to Elijah and keeps his distance from Salome. (p. 181-182, Vintage edition of Memories, Dreams, Reflections) Over time, Jung holds conversation with Elijah who eventually changes into another figure, Philemon. Philemon teaches Jung about the nature of human consciousness. Jung begins to see how autonomous inner figures can act. It is the inner figure that seems to hold this knowledge, not Jung. (p.183). Again, Jung's inner figure changes. This time it alters to take on the form of the Egyptian notion of spirit, Ka. (p.184-185, Vintage edition of Memories, Dreams, Reflections) STEPS TO A DEEPER PRACTICE OF ACTIVE IMAGINATION 1. Pick a time to do quality work. This is very important. So many of us have tried to relegate inner work practice to the time after we get everything else done. All of our obligations to work, to house, family, friends, to bills, are done first. Only then do we sit down to do inner work. By that time we are too tired to do anything. Do not use "junk time," that time left over once everything else is taken care of to do quality inner work. It won't work. This does not mean giving up your day job but it does require awareness of when your energy is appropriately high for this sort of work. Find the means to carve out good time for this important work. 2. Use Pre-Active Imagination work to turn inward and to create the ambiance for Active Imagination.3. When the ambiance is right, introduce a topic to be explored or allow a topic to show itself. If it feels right to introduce a topic, try: * an image or feeling from a very recent dream * an image from a very recent time during your day world * a mood from your day world * a powerful image/feeling from other sources (i.e. the Tarot, art, film, literature) If it feels right to allow a topic to come up, try: * to trust the process * to allow for more depth so that an important topic can up (avoid the "chit-chat" that we so often face when not going far enough) 4. Once a topic has been agreed upon, stay with it. Try to stick to the central image. This doesn't mean that it can't change, it will. Try to let the topic's full drama unfold rather than expecting/seeking a cascade of images/feelings. 5. Get into the image (physically, emotionally, intellectually, and intuitively) 6. Remember. It is too easy to let everything just pass your eyes without reflection, but remember that one of the primary aims of this practice is to learn. To learn requires remembering. To remember requires not a passive approach to what one is experiencing but a very active one. This is the main reason this practice is called Active Imagination. To remember you will need to: * Take notes * Tell someone else what you are experiencing so that they can record the action * Or, make the session last no longer than your ability to remember the inner events. This can mean that the session (once you are warmed up with Pre-Active Imagination) will only be five minutes long. That's fine, no harm is done with short sessions. 7. Dialogue with inner figures. If you can meet or call forward inner figures, do so. Become come engage in realistic dialogue; personification is one of the most powerful and important aspects of Active Imagination. Trust the process and listen and learn. 8. Wind down. Sessions do not need to be very long. Ten to fifteen minutes can provide a tremendous amount of material. Develop a simple process of inner and outward steps that communicates to your psyche that you are now leaving this process. Some people prefer to use an inner image such as walking down a path towards their home to make this transition. 9. Emerge and do any needed additional recording of your experience. 10. Settle back into your everyday world. 11. Do Post Session Work Do Research As Needed: Frequently a special image or motif will come up demanding exploration after you leave Active Imagination. Do what research you can and you want to do either on-line, at a university library or through the help of a Jungian Society. One note: for this type of work, most research only requires a light exploration of the topic. For instance, if a goddess figure appears, look at goddess images, get some sense of how historic and wide spread these images are, and find one or two that attract you. Also get a general idea of what these goddesses represent. Note that it is not necessary, and frequently a hindrance, to go into too much detail. Going into detail tends to turn a poetic inner experience into a head trip. Nothing against head trips, but if heavy intellectual analysis is used too early, before one has mastered accessing the unconscious, it will be an obstacle, pulling you away from the work you need to do. Once a reasonable level of mastery is achieved, then deeper research will not only not interfere with Active Imagination, it will serve to deepen it. However, in the beginning, try to keep to the gut level nature of what you experience. This will keep you motivated and connected to the ambiance created by Active Imagination. Do Something With It: Many Active Imagination practitioners and teachers recommend doing something with you experiences. Writing, journaling, sculpting, painting, and dancing are just some of the means of taking an experience and bringing it into this world by giving it form. Giving it form will give it a greater place in your life and will further activate the unconscious. Keep To Your Promises: If one is going deep enough in Active Imagination one encounters inner figures (either from a dream, spontaneously, or from an exterior image such as a Tarot card). Inevitably, a promise is made (or should be made) to these personifications of unconscious processes. This promise tends to be around some attribute of the inner figure and some attribute you hold or wish to hold. Robert Johnson in his fine book on Active Imagination, Inner Work, tells of a woman who cuts a deal with her inner artist. If she makes room in her busy life for a greater connection to beauty and art, the inner figure will not pester her through bad dreams and compulsions. Her life takes on a new vitality and sense of meaning, but Johnson warns, she must keep to this promise or this gift will be lost. When you make such deals, keep to your promises. This will increase your ability to hold meaningful dialogues with sometimes reluctant inner figures. Keep Quiet and Be Humble: While you may now have a new understanding, an understanding that is well beyond your friends and family, don't be arrogant. Treat whatever you have received as a delicate gift. If you hold it just right you can possess it and learn more from it, but if you are not careful, this gift can become beat up and distorted. You don't have all of the answers---you just have another piece of a very large, complex, and when it gets down to it,---a very mysterious, puzzle. Change/Enlarge/Grow: You have been presented with insights about life and these insights must be applied to open your perspective on the inner and outer world. Insights gained in Active Imagination tend to expand one's view by showing a new side to an issue. They weaken our old certainties, making room for new understandings and receptiveness. Active Imagination is synthesis and we need to carry this synthesis forward in our choices, our expectations, our demands ACTIVE IMAGINATION: MARY R. BAST, Ph.D. : Carl Jung, in Memories, Dreams, and Reflections, described how therapeutic it could be to translate his own emotions into images (this process is now referred to by Jungian therapists as active imagination). At one point in his life Jung described being visited by a "friend of Gandhi's... a highly cultivated elderly Indian whose guru was a 'commentator on the Vedas who died centuries ago.'" Jung was a bit embarrassed to talk about this, remarking on the irony that a psychiatrist should discover within himself "the same psychic material which is the stuff of psychosis." He was relieved to realize he'd only experienced "the sort of thing that could happen to others who make similar efforts."We all talk to ourselves, but we sometimes do that as part of a negative cycle of worry, blame, or guilt. Active imagination personifies the "parts" of us that are talking -- to create more clarity or even resolution that might not be possible with ordinary linear problem-solving. Anything could stimulate active imagination. You might be seeking clarity on a key decision, or puzzled by an emotional reaction you've had to someone, or curious about a dream you've had. Here's an example of how a Nine used active imagination to help resolve her performance anxiety. Sue had always loved giving pep talks to her own team, so when she was promoted to Vice President, she was surprised to find herself "freezing" when required to give formal presentations in the corporate Board Room. While agonizing over this, she had a dream in which her aging mother wanted to die and asked Sue to kill her. Sue imagined herself talking to the mother in her dream and wrote down the conversation below. This dialogue is fascinating because it shows the creativity of active imagination -- it can move in any direction if you just let yourself go: Sue to Dream Mother: "Why are you here? What role are you playing in this dream?" Mother: "Think of the pampas grass in your yard and how you're attracted to it, the way it grows luxurious, seductive, how it feathers itself for attention, how it says, 'Look at me! Look at me!'" Sue: "I know I want to be heard, I want to make a good impression. But why are you showing up in my dream?" Mother: "I'm the mother in you who tells you your wishes and what you have to say are unimportant. Everyone loves me because I'm nice, because I hide my critical nature, because I'm not aggressive, because I have no voice." Sue: "Why are you asking me to kill you?" Mother: "It's time for you to 'kill' your fear of speaking out, your urge to be 'nice' at the expense of your own wishes and ideas. Meditate on loving what's within, discover your voice is already there, you speak from it every day of your life. Speak to the part of you who doesn't yet see that." Sue: "It's hard to find that part, to give form to how hard it is to speak out. I picture a murky cloud." Cloud: "I'm murky because the sun feels blinding. I'm not sure if I can stand the excitement. I've covered the sun so long I've lowered my tolerance for energy, for light, for seeing things clearly, and for saying things clearly." Sue: "So, how can I move past that?" Cloud: "Picture yourself in the space where you're anxious. Imagine the light is set low on a dimmer. Slowly turn the dimmer up until your eyesget used to the bright light." This internal dialogue helped Sue better understand the nature of her anxiety. She also used the visualization as she prepared her next Board Room presentation. She was delighted (and a little surprised) that her anxiety dimmed as she allowed herself to shine. WHAT IS ACTIVE IMAGINATION & HYPNAGOGIA? [Jungian Active Imagination & Hypnagogia. "the royal road to the unconscious" C.G. Jung] Active Imagination is a fairly rare natural process that need not be so rare. It is highly treasured by those who have mastered it and it has been used, in one way or another, in seeking deep inner experience. "We may worry about death but what hurts the soul most is to live without tasting the water of its own essence." -Rumi The most direct way of explaining what Active Imagination is is this: Active Imagination places us at the threshold between our everyday sort of awareness and the dream world. If we can bring a degree of alertness and openness to the threshold, the dream world will reach out to meet us. The dream world provides us with its unique view on the world and we bring our questions, our capacity for learning, and our ability to be surprised. This marriage, of inner world and outer world, can provide our lives with much needed insight, energy, passion, and meaning. Active Imagination is not hypnosis, contemplation, or meditation. Hypnosis asks us to turn off our alert mind to enter into the world of unconsciousness. Contemplation seeks to sharpen the mind's reasoning ability. Meditation asks us to move away from the dream world and our everyday mind through focusing on a single word, our breathing, or our movement. Elements of all of these practices are touched upon when practicing Active Imagination. But, Active Imagination relies upon an alert mind, the non-rational, and a high level of inner creative fludity. This is the only sort of environment that the inner marriage of everyday consciousness and the dream world can exist. Sometimes, Active Imagination occurs naturally, without utilizing a technique such as was brought to the psychotherapeutic mainstream by C. G. Jung. Events that bring a person to relax their everyday awareness (e.g. listening to stories, watching the flames in a fireplace, listening to the sea) can move us into Active Imagination. To increase the frequency of these experiences so that we may follow Rumi's advise, "taste the water of the soul's own essence," we must use Jung's technique. ACTIVE IMAGINATION: LORRIE KAZAN: EDITED BY HENRY REED, Ph.D. MARCH 2008: Active Imagination is a life-transforming process pioneered by famed psychoanalyst, Dr. Carl Jung. It is a powerful tool to gain access into one’s own interior life. With practice, it offers intuitives an added doorway to experience areas of psychic functioning. Telepathy, synchronicity, intuitive flashes and insights are all possible outgrowths of this work. In fact, this technique can also function as a method of dream incubation. It’s believed that we regularly access the unconscious mind while we’re sleeping or in some form of hypnotic or artistic state. Dr. Jung asserted that it was the greatest desire of the unconscious to become known, that is, to be heard, seen and experienced. You can liken this to how we feel when we’re ignored. Few people prefer to feel invisible, and will often “act out” to gain attention. If it is the unconscious (the unseen) that drives our behavior, then certainly it’s in our best interests to create a dialogue between our conscious goals and our unconscious directives. Active Imagination provides this possibility. Though it requires some work on our part, this technique offers the seeker unlimited opportunity to experience the brilliance that lives within. One of its highlights is that anyone can do this process. However, Jungian analyst Robert Johnson believes that most people won’t participate, because he contends, most of us don’t really want to change. Moreover, he believes that while we can detail what we don’t like about ourselves, we stubbornly resist the gold within. However, without our inner gold, life is mundane. And no amount of shopping, drinking, T.V., or outside stimulus will ever be enough to compensate for its loss. Johnson consistently reminds us that life generally appears in opposing pairs and the process of Active Imagination works wonders with this paradox. With that in mind, I recently applied Active Imagination to an issue I was facing. While I was away for a long weekend in Northern California, inner voices pulled me sharply in two directions. One, to go home to Los Angeles and work on my business (that is, constantly produce results and earn money), and the second voice pushed me to stay in the Bay Area, rest, relax, play, and trust that more work would be available to me when I got home. Feeling agitated, I took out my notebook before going to sleep and let each voice have its full say. I also encouraged the two sides to dialogue together. One voice told me that it didn’t want to be constantly moving and doing things. “Your inner life is bubbling up from the core,” it said. “We need to speak to you and you won’t listen.” “How can I listen?” I asked. “What do you want me to know?” “Stop running around so much and stay focused on the psychic and on spiritual well-being, starting with yours.” Thus, it urged me to slow down and enjoy what mattered to me: art, music, spirituality. It even reminded me of the Buddhist art exhibit, Circle of Bliss, I’d seen years earlier. As I’m writing today, I recall that this exhibit culminated in the dismantling of the intricate and beautiful mandala the monks had just painstakingly created. After I set my writing aside that night, I dreamt about a plant that needed water and had outgrown, in fact, grown beneath its pot. This image stayed with me throughout the weekend as I pictured myself as that unwatered plant growing a new plant beneath its container. I asked myself and the universe, why have I neglected this plant? It’s sitting beside the sink but not watered and it’s clearly confined. I could have (and should have) gone on to dialogue with the plant to see how it was feeling, what it wanted, and why it chose to come into my dream. The great thing about Active Imagination is that I can always do this no matter how much time has passed. However, as I focused on this dream symbol, I found myself able to relax and participate fully in the weekend. While one voice insisted on the value of non-stop work, the plant showed me that it needed a level of care that the intellect was ignoring. I could also question whose voice spoke with such vehemence and fear regarding the need to work without ceasing. In another more recent exercise, I was able to clearly hear my father saying: “You don’t do what you want in life; you do what you have to do.” I asked myself how his philosophy had worked for him. Had it paid off on any level? Was it the philosophy I wanted to guide my life? We internalize parental voices and they can drive us to live lives incongruent with our true selves. If we don’t take the time to consciously listen then it’s possible to be endlessly and blindly driven, at least in some areas of existence. Here we have the opportunity to write, to listen and to allow our images and inner work to authentically guide us. Poet Joy Harjo wrote that she had no peace until she learned to live with paradox. Active Imagination can provide that powerful bridge to this peace. Inevitably our lives are filled with paradox. One example that Robert Johnson cites is the issue of impossible love, stating: I love this person who is married to someone else. How can I symbolically experience that love and yet remain ethical to myself? The Jungian model: Give each voice a venue to speak, to fully express itself without fear of being judged. (Most people use writing but some prefer to speak the different voices, or even dance or paint them out.) “Suffer it through,” Johnson advises, informing us that suffering originally meant “to allow.” “Be aware of [the problem]” he says, “but otherwise, leave it alone.” In this context of trust, more is ultimately revealed, even healed in the divine right time. Symbolic dreams, synchronicities, and unexpected insights are likely results from this immersion. Though you may love someone, you’re not necessarily meant to take outer actions on that love. What happens when you address the discomfort by working with your own psyche? Do efforts on the unseen level end up influencing the material world? I believe they do. They will certainly influence one’s psychic integration and ability to choose. I notice this process is affecting me as I write this article. While I’d normally send the first and all the successive drafts off to my friend and editor, this time I’m letting the article sit and then I come back to it. The process is teaching me to wait rather than rush, to allow myself to be with not knowing and imperfection. Johnson laments that most of us will not take the time to investigate our lives this way. He asserts that active imagination is a primary key for living a deeply fulfilling life. Certainly it is a safe, easy way to start strengthening ourselves, to become aware of what wants to express from inside, and to gain consistent access to the voices that determine our lives. Moreover, it teaches us how to be with our fears and discomforts without racing to alter or “fix” them. This allows us greater mind space and a wider range of actions that we might ultimately take. While psychologists advise us not to take this into practices of telepathy, for instance, but to remain with the psychological, I believe that once you are strong enough in yourself, you can extend this process into areas that provide greater psychic and intuitive understanding. For this article I asked my fantasy version of Carl Jung what he would like you to know. His response: Everyone can do it and everyone should. Perhaps you can ask your inner Dr. Jung whether he agrees and if this practice would be helpful to you? ACTIVE IMAGINATION: ROBIN ROBERTSON: THE ORACLE WITHIN: As an adjunct to dreamwork, Jung developed a technique he called active imagination that allows anyone to consult an oracle within themselves. Active imagination is a process of consciously dialoguing with our unconscious "for the production of those contents of the unconscious which lie, as it were, immediately below the threshold of consciousness and, when intensified, are the most likely to erupt spontaneously into the conscious mind." [C.J. Jung, The Transcendent Function] Someone who has learned active imagination is thus able to take some degree of control over his or her own growth process. When the oracle was consulted at Delphi, the priestess -- the Pythia -- became totally receptive to whatever flowed through her. Her role was simply to be a mouthpiece for Apollo. In contrast, in active imagination, we have to alternate between total receptivity -- to allow the unconscious to speak through us -- and a conscious engagement with the unconscious. It is the alternation between the two which is unique to Jung's method, and which makes it so useful a tool. As with all oracular systems, start the process with reverence. Only use active imagination when something significant needs to be discovered, and only when you have already exhausted your conscious resources. Find a time and a place where you can be alone, then take a few moments to calm your mind. Once you feel relaxed, use one of two basic ways to access the unconscious -- visual or oral. For the visual method, close your eyes, then begin with some visual starting point, perhaps a scene in a recent dream that has significance for the issue at hand. Get this starting point as clearly in your mind as you can make it, then let it unfold as it likes. If you are strongly visual, you may find that the resulting fantasy is virtually as vivid as a dream. The difference is that, because you are awake, you can consciously engage with the figures in the dream. As with any other encounter with the inner world, you need to walk a narrow path so that you remain receptive to whatever the unconscious produces, yet are able to react with conscious intent. In the oral technique, you engage in a dialogue with a person or object who you feel might help you with the issue at hand. You can actually talk out loud, hold the dialogue in your head, or simply write both sides of the dialogue. I normally sit at the computer, slow my breathing and stop my monkey mind as much as I can. I then type a question to, for example, an enigmatic dream figure from a recent dream. Having begun the dialogue, I remain receptive to whatever emerges from within and simply type what comes out. After allowing the inner voice to speak as long as it likes, I shift back to my own personality and react to what has been said. The dialogue continues in that manner. You may find that you actually hear the words coming from the unconscious, or they may simply come out in the writing, without any intermediate process of hearing. When I use either the visual or oral techniques, I normally "see" only vaguely, or "hear" not at all, but somehow fill in what is missing through "feelings" in my body. Jung experienced the same thing: "Sometimes it was as if I were hearing it with my ears, sometimes feeling it with my mouth, as if my tongue were formulating words; now and then I heard myself whispering aloud. Below the threshold of consciousness everything was seething with life."[C.G. Jung, Memories, Dreams, Reflections] Jung only came to this method after a great deal of struggle. At first, you may feel foolish trying either of these methods, but if you do, you will probably surprise yourself with how easy it is to allow this process to occur. When using the visual technique, you will find that the initial dream scene used as a starting point evolves in directions you could never have predicted. Similarly, when using the oral technique, you will find that the voice and character of the dream figure is sharply distinct from your own, and that you won't be able to predict the direction the dialogue will take. This lack of control can make you as uncomfortable as it did Jung: "One of the greatest difficulties for me lay in dealing with my negative feelings. I was voluntarily submitting myself to emotions of which I could not really approve, and I was writing down fantasies which often struck me as nonsense, and toward which I had strong resistances." [C.G. Jung, Memories, Dreams, Reflections] I've already said that one has to walk a tightrope in using active imagination. One danger is that we don't open ourselves sufficiently to the unconscious, but instead edit what comes out before it has had a chance to really emerge. Or we may start interpreting what this all means instead of simply remaining open to what is emerging. We need to just let what wants to come out, come out. The opposite danger is perhaps more prevalent. We can become so enamored with the fantasies or dialogues that emerge from within that we don't really take them seriously as something with which we have to struggle. This can happen equally with dreamwork. We can simply become fascinated at an aesthetic level and never realize that we are being presented with a challenge to our values. Finally, I would be remiss if I didn't mention that active imagination is exactly the wrong method to use if one is already unstable and having a hard time separating reality from fantasy. Most active imagination is with personified aspects of your own personality. When you are encountering such figures, it is much like encountering others in the normal course of life. However, as I've already indicated, as you access deeper parts of the inner world, the people and situations become collective and cease to have anything to do with your individual personality. It's not surprising that the ancients regarded these messages from within as coming from a god without. The unconscious often speaks like a god, which may make you feel uncomfortable or doubt that you can trust what is being said. As a modern man, Jung initially found this irritating: "Archetypes speak the language of high rhetoric, even of bombast. It is a style I find embarrassing; it grates on my nerves, as when someone draws his nails down a plaster wall, or scrapes his knife against a plate." [C.G. Jung, Memories, Dreams, Reflections]. But it is exactly that quality that indicates that you are indeed tapping truly unconscious material. For someone who is less stable, instead of merely becoming uncomfortable, they may actually be possessed by the more-than-human energy that emerges. Jung says that sometimes "the subliminal contents already possess such a high energy that, when afforded an outlet by active imagination, they may overpower the conscious mind and take possession of the personality." [C.G. Jung, The Structure and Dynamics of the Psyche]. To the extent, however, that "active imagination" is truly active -- that is, that we engage consciously with the material, possession is highly unlikely. More likely is that we fail to remember that what is emerging is not us, but some collective power. We get inflated, puffed-up with the godlike energy that we feel. Or alternately, we may get depressed; in that case, accessing the unconscious demands so much energy that there is little left for consciousness. Cycles of inflation and depression are a normal part of life for anyone who digs into his or her inner world. But over time, we learn both to recognize when we are inflated or depressed, and to dampen the extent of either. One excellent way to ground this process is simply to take the time to write the active imagination down in some sort of a journal so that you can refer back to it, just as you would a dream. I keep a combined journal of dreams and active imagination, with short biographical journal entries as well for each date. Active imagination is an incredibly powerful method for gaining access to information unavailable to consciousness. Those who try it will discover that each of us possesses an Oracle within who can be questioned in times of transition or difficulty. About the Author: Robin Robertson is a psychologist, magician, mathematician, and writer, who has spent a lifetime bridging the worlds of science, psychology and the arts. He has written ten books and over a hundred articles and book reviews in psychology or his hobby field of magic. His Jungian-oriented books include Beginner's Guide to Jungian Psychology, Beginner's Guide to Revelation, Jungian Archetypes, and Your Shadow.