Do we ever understand what we think? We understand only such thinking as is a mere equation and from which nothing comes out but what we have put in. That is the manner of the intellect. But beyond that there is a thinking in primordial images, in symbols that are older than historical man; which have been ingrained in him from earliest times, and, eternally living, outlasting all generations, still make up the groundwork of the human psyche.
It is possible to live the fullest life only when we are in harmony with these symbols; wisdom is a return to them. It is a question neither of belief nor knowledge, but of the agreement of our thinking with the primordial images of the unconscious.
Carl Jung the 20th-century Swiss psychiatrist, and founder of analytical psychology wrote those thoughts in his 1936 book, Modern Man in Search of a Soul. We only understand the data we perceive. Perceptions are rooted in social and religious data, as well as a plethora of other beliefs, but there are other primordial images that exist within the psyche, and we experience some of them in dreams. Those images may not be in harmony with the ego’s perceptions, but they are in harmony with the various realities we experience in dreams.
We don’t understand what we think in dreams. Dreams are a mishmash of thoughts and experiences that don’t seem real, but they are as real as the experiences we have when awake. When we enter dreams, we have a mission, albeit, a hidden mission. Our mission in dreams is to have experiences while the body consciousness is realigning its energy. These body less experiences give us a chance to “feel” what it is like to function without a body.
We take many journeys without our body. We condition the self to use our physical experiences without being physical, and the result of these journeys is nothing short of amazing. Dreams help us enter realities after we leave the body permanently. Without dreams, we would only know what it’s like to be physical. Dreams remind us what it “feels” like to be eternal.
Thursday, August 20, 2015
Sunday, August 9, 2015
In Dreams Consciousness Is The Actor And The Observer
In the beginning, which is really no beginning. The will wants to know itself and consciousness is awakened and with the awakening of consciousness the will is split in two. The one will, whole and complete in itself, is now at once actor and observer. Conflict is inevitable, for the actor now wants to be free from limitations under which he has been obliged to put himself in his desire for consciousness. He has in one sense been enabled to see, but at the same time there is something which he, as observer, cannot see.
D.T. Suzuki the most respected 20th century expert on Far Eastern philosophy wrote those words. Suzuki is talking about the entrance of consciousness into a specific reality. Whenever a reality is entered by consciousness, there are other aspects of consciousness that continue to function in other realities. Dreams are an example of that compound and complex existence. We are all actors in our dreams, and we are also observers. Our consciousness splits into aspects of itself at will. One aspect is free of limitations and another, the observer, wonders why there are no limitations. Both of those aspects of consciousness are aware of every experience as actor and observer, and consciousness absorbs each one. One aspect absorbs the acting role, and the other absorbs the observing role.
If we look at dreams as a reality that has no beginning, we find clues about consciousness itself. We begin to understand that consciousness is not a thing. It is the energy behind all things, and in all things. It is able to form physical elements, and transform the irony within those elements. Consciousness enters dreams and becomes the subject, verb and object as well as the dangling participle that makes no sense but captures all sense. Consciousness forms the physical world and becomes what we want it to be. It is the producer, director, cameraman, writer, actor and audience within that world. It is the main attraction that introduces all other attractions, and we form experiences about it, and within it.
Our consciousness in dreams sets the tone for our physical consciousness. The actor and actors in our dreams give our observing physical consciousness the chance to become an actor that knows that the art of observing is just one role in a series of value-fulfillment achievements in that reality.
D.T. Suzuki the most respected 20th century expert on Far Eastern philosophy wrote those words. Suzuki is talking about the entrance of consciousness into a specific reality. Whenever a reality is entered by consciousness, there are other aspects of consciousness that continue to function in other realities. Dreams are an example of that compound and complex existence. We are all actors in our dreams, and we are also observers. Our consciousness splits into aspects of itself at will. One aspect is free of limitations and another, the observer, wonders why there are no limitations. Both of those aspects of consciousness are aware of every experience as actor and observer, and consciousness absorbs each one. One aspect absorbs the acting role, and the other absorbs the observing role.
If we look at dreams as a reality that has no beginning, we find clues about consciousness itself. We begin to understand that consciousness is not a thing. It is the energy behind all things, and in all things. It is able to form physical elements, and transform the irony within those elements. Consciousness enters dreams and becomes the subject, verb and object as well as the dangling participle that makes no sense but captures all sense. Consciousness forms the physical world and becomes what we want it to be. It is the producer, director, cameraman, writer, actor and audience within that world. It is the main attraction that introduces all other attractions, and we form experiences about it, and within it.
Our consciousness in dreams sets the tone for our physical consciousness. The actor and actors in our dreams give our observing physical consciousness the chance to become an actor that knows that the art of observing is just one role in a series of value-fulfillment achievements in that reality.
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